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Mother, 1972

Faintly, automatically, through two open doors she registered the low murmurings from the baby’s bedroom across the hall. Pianissimo. Crescendo would soon follow. She must prevent him reaching fortissimo or even mezzo forte. Working hard to push upwards, out of the still dreamless sleep which had held her, like a deep-sea diver she broke free of the surface. Her husband lay quietly behind her, locked away in sleep. Shirley got out of bed, put on a dressing gown and went to feed Jonas. It was just after two in the morning.

She switched on the hall light and used its beam to find the switch on the little side lamp in Jonas’s room. Sudden bright lights, she had read somewhere, were very traumatic for a young baby fresh from the warm aromatic darkness of the womb. Jonas blinked and waved tiny pink paws. His mouth was moving. He reminded her of a hungry kitten.

Shirley picked him up. His white crocheted shawl, the proud gift of a school friend in the excitement following the birth, had loosened. She re-wrapped him against the February chill. There had been a hard frost when she and her husband had gone to bed four hours earlier and it still felt very cold. Their rented Edwardian mansion flat was redolent with faded splendour. It had never occurred to the landlord, in appearance and manner as old as his properties, to install central heating.  She switched on a small electric fire and sat down in the arm chair with Jonas.

Already she could feel anticipatory spurting in her enlarged, tight breasts. As she opened the top of her dressing gown  dark streaks of milk began to shoot down the front of her blue night dress. Holding Jonas on her lap with her left hand she used her free hand to lift her left breast clear of the damp fabric. It rested heavily and stiffly in her palm, pale and criss-crossed by a map of small hard bluish veins.  She lifted her son and carefully guided  the large brown nipple into Jonas’s eager  mouth.  He drew deeply and ecstatically  on it, this: his source of nourishment and security. Shirley settled back, the tension in her breast subsiding as the distending milk was sucked steadily away.

She looked at the suckling boy who was now the centre of her universe. Yet, only three weeks ago he’d been a condition not a person. The events of an early morning in late January had changed everything, her feelings, her relationship with her husband, her attitude to her parents and friends. It was as if she had woken one morning to find that she had been unaccountably transformed, like Gregor Samsa in Metamorphosis. She had gone to bed one Sunday night after listening to a jolly performance The Pirates of Penzance on LP records and eating a peanut butter sandwich for supper. The next day everything changed, permanently.

Of course she had prepared. For months she had knitted. She and her husband had redecorated  the spare room. Her father-in-law had repainted and restored the family cot and erected it in  loving readiness for his first grandchild. She had grown used to the novelty of  being at home after leaving her teaching job in November. Nothing, however, had or could show her how she herself would be permanently, irrevocably transmuted.

Each time she got up to attend to Jonas in the small hours was a miniature re-enactment of the day of his birth. As now she had awoken at about two. She felt the mildest of fluttering in her abdomen. It was hardly noticeable but it disturbed her.  Wide awake almost immediately – no slow pull out of sleepiness on this occasion – she got up, leaving her husband obliviously asleep. Was this it? What should she do? Nothing  dramatic was happening. Perhaps she would sit up for a while and monitor the situation. She made tea and sat, cat on what was left of her lap, hunched over the kitchen table and read The Forsyte Saga.  It seemed a vague and unreal possiblity that her life was about to be torn apart and remade.

At about four her husband appeared, his questioning face still dark with sleep. He had woken to find her place in bed empty. Anxious, loving, concerned, responsible but out of his depth, he wanted to put on hot water for the planned home delivery. Should he phone the midwife to alert her?  A very young man, he struggled bravely with the magnitude of the uniquely grown-up situation in which he found himself. The squeezing of Shirley’s womb was growing more urgent. As the last hours of the long winter night  slowly dissolved into cold grey dawn, Shirley was gasping in regular, seering pain, beyond reading, eating or even talking.

How innocent and foolish we were, the metamorphosed  Shirley wisely mused now as she shifted Jonas gently to her right breast which he began to drain steadily. The eighty year old building  sighed around her in the still darkness, protective of its occupants, resisting the icy cold outside. The baby, snugly solid and warm against her  body, sucked more slowly. Nearly satiated he was becoming drowsy. His mouth lost its grip as his eyes closed. Shirley lifted the sagging breast by placing her first and second fingers flat on either side of the softly wet nipple, now elongated by pulling. Softly, she brushed the child’s mouth with it, in invitation.  Aroused, he took it and  began gently to take a little more milk.

She had given him her breast for the first time within a few minutes of his birth on that extraordinary Monday morning. When the midwife had finally bustled into the flat it was too late for any of the primitive rituals with razors and syringes  which medical science usually forces upon women in labour. It was also too late for anaesthesia.  Shirley lay, naked from the waist down, writhing on the sheeted mattress of the single bed in the room she had so painstakingly got ready for the baby.  All the midwife really had to do was to encourage Shirley through  the final few tortured minutes of the delivery. Invaded by gigantic ragged waves of pain which shook her whole body and forced her to cry out in agony, Shirley, so calm in real life, felt, in the tiny corner of her mind with which she could still think, as if she were trapped in some appalling nightmare. ‘I can see the head,’  the midwife declared encouragingly, ‘Push as hard as you can now’. Shirley needed telling only once. She wanted more than anything else in the world at that moment to escape from the clutches of this pain. She flexed her supple young pelvic muscles and held on. The baby was violently and suddenly ejected in one slithery wailing rush.

It was over. The pain stopped. It was quiet. She relaxed. During the hours of anti-climax there followed washing, cups of tea, stitches, a late breakfast, phone calls and the first visitors. Shirley had a changed identity. She was now mother first and everything else second. Instantly, in less than twelve hours.

Now, three weeks later her youthful body felt almost healed.  Jonas, a smooth skinned and attractive baby even at birth was filling out and very healthy. His head fell back as he finished his feed. Shirley lifted him and stood up, yawning.  She held the fragrant, milky boy against her shoulder and tenderly rubbed his back. She waited until she had felt and heard a large belch jerk abruptly out of his small body. Then deftly with all the practised expertise of three weeks’ experience, she laid him face up on a coloured plastic changing mat. The mat was decorated with Beatrix Potter figures. How she had enjoyed the silliness of choosing it a few weeks before. It had seemed like a childish game of mothers and fathers then.  Holding Jonas with one hand she unpopped his sleeping suit and unpinned and lifted out a steaming  nappy. After cleaning his  tiny, hot, red bottom, bathing his little bud of a penis and wiping beneath his miniature scrotum  she quickly, folded and pinned a fresh dry white nappy in place. Odd that she had dreaded this part of being a mother for there was nothing to it. This child was a product of her own body. It was part of her. The umbilical cord couldn’t be severed by a midwife’s scissors. Looking after Jonas’s body and cleaning it was no more unpleasant than taking care of her own of which it was an extension.

There were rustles from the overgrown communal gardens at the front of the flats. Cats, hedgehogs and rats and foxes lived a few feet from the windows in this small rural patch of inner London. Even knowing this,  noises in the dead of night always made her feel ill at ease and very much alone apart from the sleepy Jonas. Then a sudden loud knock from the flat above assaulted the quiet. Shirley often heard this sound. A very elderly lady with poor eyesight lived upstairs. Only the day before Shirley had taken Jonas for a visit, a matter of inspection on the old lady’s part and of showing off her lovely son on Shirley’s. The old lady read  heavy large-print library books which habitually fell noisily off her bed in the small hours. Irrationally jumpy now, Shirley  cuddled Jonas more closely. Perhaps for once she would take him back with her into the bed she shared with her husband instead of putting him in his cot in another room.

She turned off the lights and slipped into the delicious heat of the double bed. Her feet and legs had grown cold in the three quarters of an hour that she had been up. Her husband, radiating warmth and dependability stirred, grunted and resettled in his sleep. Shirley, her empty breasts now lying slack and comfortable, settled on her back with her side pressed companionably against her man. He sleepily and protectively threw a relaxed arm across her.  In the crook of her left elbow Jonas slept as peacefully as his father. She lay awake in the frame of their bodies: the two males who had both occupied her body. The one penetrating her in passionate appetite; the other in a nine-month long occupancy and dependency. In their different ways both still relied on her body. She could satisfy them both.

Peacefully fulfilled in motherhood and marriage Shirley drifted off to sleep. It wouldn’t always be like this.

Susan Elkin

 

The Wonderful Wizard of Oz

Summer by the River

Iris Theatre and For Gods & Monsters Theatre

Star rating: ***

The most striking thing about “London’s Free Open Air Theatre” led by Phil Wilmott and now in its 15th year at Scoop by City Hall is the diverse audience it attracts.

I shared a Sunday afternoon performance in warm sunshine with children, families, tourists from all over the world,  curious passers-by and several babies.

The problem with free theatre is that doesn’t command the respect it should (and usually does from ticket buyers) and there was a lot of coming and going and chatting but perhaps this isn’t the place to discuss that.

Adapted by Wilmott and directed by Justin Murray, this is The Wizard of Oz reduced to one hour. We start with Dorothy (Emma Hoey – excellent voice work and suitably childlike) somewhat troubled in Oz.

Then comes a flashback – using the ensemble cast of eight whizzing about with model houses, puppets and the like – to the famous Kansas cyclone, called a “hurricane” in this version.

Because this company doesn’t have the rights from MGM it doesn’t use the well known film songs and Wilmott has returned to Frank L Baum’s original 1900 book for some of the dialogue and ideas.

The result, sadly, is rather wordy especially when the unmasked wizard (PK Taylor) finally takes centre stage. And why on earth is Eva Fontaine as the Witch of the North dressed like a nineteen thirties nurse in lilac gingham and hammily made to sound like Joyce Grenfell in nursery school mode?

This show could do with more songs. There’s a repeated heading-for-Oz song based on “She’ll be coming round the mountain” and a substitute for “Some Day over the Rainbow”  based on “Red River Valley”  but in general there’s far more talking than singing.

PK Taylor brings the show glitteringly to life as the Wicked Witch of the West which he plays as a cross between a pantomime baddie and dame.

Adrian Decosta delights as the Tin Woodsman for whom he finds a nice creaky gait and a very convincing  mid South accent.

The very best thing in this show, however is Sarah Agha as Toto, She bounds and barks about as a tail-wagging dog who likes her ears tickled, She is also a very human dog with a lot of in-your-face London attitude. It’s a fine performance.

When My Loved One was first diagnosed with Alzheimer’s one of my first questions to the consultant was “Is it hereditary?”

She assured me very firmly that it isn’t. Later on that nightmarish day it was a priority to pass that fragment of good news on to both our sons because I knew that it had been worrying them.

The consultant then went on to tell me that her youngest patient is 37 with a young family – which promptly put our problems into some sort of perspective. “Early onset Alzheimer’s like that does tend to run in families but age-related Alzheimer’s, such as your husband has, does not,” she said.

I have read this in other reputable places too. Received, informed wisdom seemed to concur. It isn’t genetic – although no one knows what the cause is, of course, which is why there’s so much groping about for a way forward.

Then an odd thing happened. At the end of last year, we were asked to take part in some research being conducted by Cardiff University. Two researchers came to our home and interviewed us at length, and in detail, in separate rooms.

When the pleasant young woman who wanted to come phoned me to make an appointment she told me that 29 genes associated with Alzheimer’s had been identified. What? Did I hear that right? Bit of a volte-face surely?

Before they came I did a bit of family research in anticipation of some of the questions I thought (rightly) we’d be asked.

Neither of MLO’s parents, who died of physical illnesses at age 82 and 89, showed any sign of dementia. His paternal grandmother, however, died in a nursing home in her early seventies having completely “lost it”. I checked the death certificate. Putting two and two together from the vague terminology often used back in 1970 – I’ve concluded that hers was almost certainly vascular dementia which is a different illness. And none of MLO’s cousins, all around the same age as him, have Alzheimer’s.

Then there was MLO’s mother’s younger brother who died in 2010. In that case we know it was definitely vascular dementia following strokes and other incidents.

In short I found no familial links whatever with “ordinary” Alzheimer’s although it’s hard to research back far because a) people died younger b) death certificates were a lot less reliable by modern standards and c) family folklore often gets it wrong.

So I decided to stop worrying about genetic links. After all, even if they exist  I can’t do anything about it. And I’m not convinced they’re there anyway in MLO’s case. I don’t understand the science of genetics other than at the most basic level but I imagine  29 genes is probably a miniscule part of the human genome.

But this month I’ve had cause to think again.  The Alzheimer’s Disease Sequencing Project (ADSP) at Boston University School of Medicine has just announced the results of an investigation which worked with 6000 Alzheimer’s patients and 5000 “cognitively healthy” (nice turn of phrase) people and found various genetic risk factors which predispose people to Alzheimer’s.

Cue for a lot of muted excitement from all sorts of people and organisations about the possibility of some form of therapy linked to this which could eventually make a difference. The word “breakthrough” was cautiously bandied about.

What we need – and need pretty desperately given the ageing population –  is something which will work on the root cause or prevent the disease altogether. At present we only have medication which might (and often it doesn’t) alleviate symptoms in the very short term. And those drugs have been around for quite a while. No real progress has been made for a long time.

None of it will help us personally. We just have to keep buggering on as Churchill advised, taking each day as it comes with MLO able to do ever fewer things competently and my getting ever more frustrated.

Irrationally, it’s the trivia which get me crossest. I sent him to the pharmacy to collect his medication this week. They wouldn’t give it to him, presumably, because he told them some garbled rubbish. So I shall have to go myself. He keeps getting out his holiday wash bag, putting additional items in it and then telling me he’s run out of deodorant or aftershave and – having used table cloths all my life – I think I’m going to have to give them up because they now cause so much aggravation. And so it goes on. And on.  Polish up your sense of humour, Susan, smile and keep telling the boys that It Is Definitely Not Hereditary.

Little Shop of Horrors continues at Regent’s Park Open Air Theatre, London until 22 September 2018.

Star rating: four stars ★ ★ ★ ★ ✩

Under Maria Aberg’s direction, this production of Howard Ashman and Alan Menken’s 1982 classic glitters, often literally, with quality.

From the moment the anonymous hooded figures slide on to the all grey impoverished Skid Row set and Cat Beveridge’s (yes, a female MD – hurrah!) strikes up those first off-beat notes you know you’re in for a treat.

Based on Roger Corman’s film and loosely rooted in early 20thcentury sci-fi, Little Shop of Horrors famously tells the story of a man-eating plant which – in every sense – takes over a florist’s shop that’s down on its luck …

Read the rest of this review at http://musicaltheatrereview.com/little-shop-of-horrors-regents-park-open-air-theatre/

Royal Albert Hall, Tuesday 14th August 2018

Famously founded in 1999 by Daniel Barenboim and Edward Said, West-Eastern Divan even looks different from other orchestras. It comprises young players from Israel, Palestine and several Arab countries to promote coexistence and intercultural dialogue and you can see the unusual and very welcome diversity before they play a note.

It’s also eye-catching because it’s so huge that it spread along all the tiers right up to the beginning of the Royal Albert Hall’s choir seating although different players come and go for different works – the programme for this rather special concert being as diverse as the players. If anything, the choice of works felt a bit random.

Daniel Barenboim, of course, has become one of those rare conductors who is so beloved and respected that he gets rapturous, near-ovatory, applause even before he raises his baton. In this case he was greeted by a very excited hall full almost to capacity.

We started with the Polonaise from Eugene Onegin. Not advertised in advance, it formed a welcoming, vibrant, tuneful warm up, almost like an encore at the “wrong” end of the programme. Then, still with Tchaikovsky, it was on to Lisa Batiashvili and a rousing account of the violin concerto. Georgian born, she gave us lots of Russian colour with exceptionally clear runs in the first movement. She took it a tad slower than some performers but it was a treat to hear the detail so lovingly articulated. Her dynamics are beautiful too. Filling the vast space of the Royal Albert Hall with very soft trills on harmonics so that every single listener is gripped is no mean feat. Her drama of her finale was well judged and balanced too.

After the interval came the London premiere of Looking for Palestine by David Robert Coleman. It is, effectively, a setting of two scenes from the play, Palestine by Najla Said, Edward Said’s daughter, and tells the story of her thinking about yearning for Palestine at the time of the 2006 war in Lebanon during a visit there and while living in New York.   Musically it’s dramatic with a great deal of interesting percussion – programmatic bangs, whistles and sirens – with anxious twittering strings and a strange twanging across-the-body plucked, string instrument (lute?) which plays a continuo at the front. Barenboim conducted the piece carefully from a score the size of a broadsheet newspaper – the only work in this concert which he didn’t do from memory.

The text was sung in this performance by soprano Elsa Dreisig and that was where the real problem lay. Almost all of it is pitched very high in the voice which meant that the words were, in this case, totally inaudible. Without the printed programme which included the words for this piece it would have been utterly impossible to work out what was happening. The best music speaks for itself. It doesn’t need explanation or resources to support it. I did admire Dreisig’s wistful glissandi, though.

The final work was Scriabin’s 1905 “fourth symphony” which is titled The Poem of Ecstasy and not structured like a classical symphony. It’s a grandiloquent showcase for Western-East Divan and Barenboim allowed all the detail and exotic, sometimes erotic, music to resonate. The principal trumpet got a well deserved round of applause at the end and I liked the way we heard plenty of that slightly grating, gravelly sound of muted trombones adding to the rich chords and cadences. The climactic blaze of bells, drum rolls and scrubbing strings was pretty memorable too.

It was a moving concert because of what West-Eastern Divan stands for – a concert with a sub-text, if you like.  But the standard is impressive as well.  The power of the playing and musical cohesion, especially in the first half, moved me in a different way.

First published by Lark Reviews: http://www.larkreviews.co.uk/?cat=3

 

society/company: Illyria (professional) (directory)
performance date: 07 Aug 2018
venue: Tonbridge Castle and touring

It’s an interesting change to see The Merchant of Venice played mostly for comedy rather than treating it as the dark play it is usually presented as these days. Of course Shylock (David Sayers) is badly treated and we sympathise with him but most of the rest of director Oliver Gray’s take on the play is suitably frothy for an outdoor summer evening with picnics.

In typical Illyria style just five actors take all the parts and it’s very slick as well as hilariously incongruous. Katy Helps, for example, plays the Prince of Morocco with her face entirely covered in a curly black wig to represent the “complexion” Portia (Nicola Foxfield) dislikes so much. Old Gobbo, who has a delicious West Midlands accent, sports a long white beard and wig which is such a good disguise that I couldn’t work out which of the two female actor it was. There’s a great deal of near continual energetic work from every one in the cast to make it all fizz along.

Beau Jeavons-White gives us a fairly neutral Antonio, almost always presented as gay in modern productions but not particularly so here, and then – all six foot four of him and complete with his own beard – a delightful simpering, Nerissa holding her skirts up coyly. Foxfield’s Portia achieves a good range of moods too with a lot of unusually convincing flirting and spooning with Bassanio (Chris Wills – good) and then real power in the court scene in which Wills nips off several times to double as the Duke.

David Sayers is an impressively versatile actor to watch. He toils on an off with the caskets as Portia’s tetchy servant (including a nicely played out moment when the lead one is too heavy) plays Lorenzo with flair and excels as Shylock in a beautiful mosaic patterned robe. He finds all the wariness, determination and anxiety that Shylock needs and ensures that we are moved by the broken man he eventually becomes. And because the changes between characters are so rapid there’s no time to think yourrself in and out of roles which makes this punchy performance even more admirable.

Full marks to the company for voice work. The cast adeptly uses a wide range of accents to support the multiple roles. And playing without amplification in the open air is quite a challenge but all five actors project and enunciate so that every syllable is fully audible which means that every nuance of the story telling is commendably clear.

It’s a pity that I saw this show on one of this season’s rare wet nights. “In thunder, lightning or in rain” – sorry, wrong play – was the order of the evening. No wonder the audience chuckled when Foxfield reached “It droppeth as the gentle rain from heaven.” Nonetheless the cast cheerfully completed the performance, raising their voices over very heavy rain for the last ten minutes and almost all the audience, enshrouded in polythene, macs and umbrellas remained good humouredly in place to applaud them at the end.

I really like Illyria’s work and am now looking forward more than ever to their Pirates of Penzance next week and The Hound of the Baskervilles next month. Catch their work on tour if you can.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Illyria%20(professional)-The%20Merchant%20of%20Venice&reviewsID=3280

★★★★★
Gilbert & Sullivan. Produced by Illyria Theatre
society/company: Illyria (professional) (directory)
performance date: 11 Aug 2018
venue: Coolings Garden Centre, Knockholt, Kent (part of UK tour)

Is there anything more quintessentially, eccentrically British than sitting in a garden centre in heavy rain on your damp own camping chairs swathed in waterproofs and warm layers to lap up Gilbert and Sullivan? Bonkers we may be but actually Illyria’s The Pirates of Penzance is so exquisitely well done and such fun that the weather quickly becomes irrelevant.

Hard on the heels of the same company’s wet but glorious The Merchant of Venice at Tonbridge Castle last week, this production brims over with director Oliver Gray’s trademarks. It uses a cast of just seven – yes, that’s right, seven – with dozens of hilarious quick changes, extra jokes which respect rather than undermining the evergreen WS Gilbert, admirable slickness and warm affection. The whole cast on for the Policeman’s song, for example, with silly dance was a delightful moment. So was the “Tarantara” chorus in which two of the cast provided outrageously loud drums and cymbals from the side.

The larger than life Samuel Wright is, as ever, a terrific asset to the company. He has enough stage presence and personality to command any stage, small or large. His bass account of the Pirate King rings out with immaculately tuneful resonance and every single word is clear as with the whole of this production – another Oliver Gray trademark. How on earth Wright can do that and, seconds later, be singing alto with the women as he simpers round the stage as very overgrown daughter to General Stanley is one of those theatrical mysteries but he never misses a note or a beat and he’s glorious funny.

Alex Weatherhill’s Major General is excellent too. I don’t think I’ve ever seen it done with more plumes in the hat – red, white and blue in this case. He sings his famous song immaculately, gets lots of laughs and then does a prestissimo encore. His effete manner is splendid.

Mathew James Willis is a fine singer and actor, slight enough in figure to be a nice visual foil to the other too. He plays Frederick with a strangled RP accent which makes him seem nicely priggish in contrast to the other pirates and his tenor voice is very pleasing indeed.

The four women in this show work very hard and entertainingly, playing an enormous number of parts between them. Jenny Cullen’s Mabel is suitably sweet and she does an impressive Poor Wondering One and Stephanie Lysé is good as tall predatory Ruth with a rich mezzo/alto voice. Rachel Lea-Gray is an impressive leading Policman (the famous bottom note is a nice moment) and Elizabeth Chadwick gives us an engaging Stanley daughter.

One of the very best things about this lovely show is the quality of the singing. Because many of the choruses are sung with just one or two voices to a part, the harmony is as crisp and musically blended as you’ll ever hear it. Each note is as well placed as each word. Musical director, Richard Healey – hidden away on keyboard in a tent beside the stage – has done a magnificent job with this cast. He has some wacky moments appearing briefly as the Bishop of Penzance and Queen Victoria too while the cast hand on to a long chord until he can race back to the keyboard to complete the cadence – fabulous stuff.

I’m not required to give a star rating for these reviews but if I were, this The Pirates of Penzance would definitely be a 5. Meanwhile, I don’t care which G&S Illyria does next year. I shall be there (with my anorak, hoodie and rug) panting for more.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Illyria%20(professional)-The%20Pirates%20of%20Penzance%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3300

In the last week or so I’ve seen three outdoor shows and got soaked to the skin twice. It’s what you do in Britain – part of summer’s rich tapestry.

I was at Tonbridge Castle for Illyria Theatre’s rather good The Merchant of Venice a day or two after the weather broke. That night we had thunder, lightening and rain. Perhaps they should have been doing Macbeth. As it was Portia’s “It droppeth as the gentle rain from heaven” acquired a new resonance and raised an audience chuckle. The evening began dryish but threatening. By the time we got to Act 5 we were sitting in a deluge.

How amazing it is that under these inclement circumstances the vast majority of a stoical British audience will sit cheerfully to the end and then applaud enthusiastically before they pack up their sodden camping chairs, not quite waterproof rugs and dripping macs! That night I think it even surprised the cast (glad I didn’t have to get their costumes dry as well as my camping chairs) who thanked the audience at the end for sitting it out.

A few days later I was at the same company’s stonkingly good The Pirates of Penzance (different cast) at Coolings Nursery. And it rained. Again. A lot. Did it bother the audience? Not much. They smiled, clapped, munched their damp picnics and lapped up the joys of Gilbert and Sullivan immaculately well done.  As I plodded back to the car with our sodden stuff – amongst hundreds of other happy people it struck me that actually the rain is part of the fun. It simply wouldn’t be the same in Provence, Tuscany or Andulacia where they get months of reliable dry sunshine. Very boring. That’s not how we do things here. After all, in Britain we don’t have a climate. We just have weather.

The night after Pirates I was at Little Shop of Horrors in Regents Park – another very fine show in a different way. Not a drop of rain all evening and do you know what? I was almost disappointed, not least because it’s so interesting to observe audience reactions.

So I’ve come to the conclusion that we do open air theatre in this country in defiance – celebration even – of our volatile weather and enjoy every minute of it although there must be some tricky health and safety decisions for stage management sometimes. Only once (a performance of A Midsummer Night’s Dream at Regent’s Park a few years back) have I been at a show which had to be abandoned because of the rain. Most companies paddle energetically on to the end. I’m quite glad really that I have only to sit in the audience.