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Long live kindness

Most people get it. I’ve written before about the kind consideration My Loved One – Ms Alzheimer’s glowering menacingly over his shoulder –  routinely gets from total strangers but it’s so very striking that I make no apology for returning to the subject.

Seats are readily vacated on buses and trains and there’s a lot of courteous standing back as soon as they spot that MLO is shaky on his pins – which, just to make sure, I routinely signal to all and sundry by saying clearly “Mind this step” or “Hold on to me” which is as much for those around us as for MLO himself.

On one occasion the tube train was very crowded. I managed to lever MLO into a priority seat but stood, “strap hanging” (as we used to call it) near the door myself. Inevitably lots more people got on and stood between him and me so I started to worry about how I was going to get him off when we reached our station. In the event I managed to weave an arm through the bodies. MLO got the message and reached towards me. Then the crowd miraculously moved, like a mini parting of the Red Sea, so that I could haul him out. All done in typically British silence of course  – apart from my saying thank you –  but so thoughtful and decent. I suppose it’s the same mentality as pulling over for an ambulance.

On our recent trip to the US we explored Arlington Cemetery (both interesting and powerfully poignant) via a hop-on hop-off bus tour of the site. MLO is no longer proficient at hopping and had to take the three steps on and off the bus very carefully – usually with me standing at the bottom to proffer a steadying hand. When we reached the place where they do the changing of the guard at the tomb of the unknown soldier (the only bit of the whole holiday MLO now remembers with clarity, by the way) there was a big brawny twenty-something in front of us. He was covered in tattoos and wearing a base ball cap which in another life might have made me leap to unreasonable, stereotypical conclusions. In fact, he bounded down the steps before turning to help MLO with exquisite courtesy. I was almost as moved by that as by the changing of the guard which, for the record, I thought was a rather repetitive 3* piece of theatre. Good to see “vets” in wheelchairs brought from all over the US by charities to witness it, though.

I am also impressed by the cheerful kindness of the people who provide “special assistance” at airports. The pleasant, chatty, caring young woman who was awaiting us with a wheelchair at the aircraft door in Washington took us all the way through immigration, baggage reclaim, customs, on an airport “train” and right out to a taxi outside. By then – maybe 45 minutes in her company – I’d heard her entire life story (grandmother in California with Alzheimer’s) and felt really welcome in her country. Yes, I know that’s her job but she clearly takes real pride in it and she earned every cent of the $5 I tipped her. The service is kind enough at Heathrow too but less efficient and with a lot more hanging about because, I gather, it’s “outsourced”.

Needing the loo frequently and urgently is an ongoing problem. In one coffee shop there were two unisex lavatories but one was out of order. I got the code number for the door from the counter and told MLO about six times what it was but he still came back to me inarticulate with panic. So I went round to said door and punched the number in myself. Of course it was occupied and there was, anyway, a woman waiting. “Well it’s a queue” I said. “You’ll have to stand behind this lady and wait.” She spotted the problem instantly: “No no, you go first” she said warmly. “What a star. The vast majority of people are fabulous. I rest my case.

Then there are other people’s perceptions of me and how I deal with it. Back in London we went to Next the other day where Costa is on the first floor and we decided to go up for coffee or , in my case, tea. Well I expect there’s a lift but I really do believe I have to keep MLO moving for as long as possible. When we’d finished our drinks we set off slowly down the steps with me, as usual, walking two steps in front holding his free hand firmly. We were watched by the fascinated security guard at the foot of the staircase by the main door. “I wish I had a wife as kind as you” he said, going on to inform us that his wife had left him and taken most of his money. Life with Ms Alzheimer’s certainly triggers some strange conversations.

When I was at school we didn’t have assembly. The whole-school morning gathering was unequivocally called “Prayers”. And once we were there, our deeply Christian headmistress regularly addressed her Almighty in these simple supplicatory words: “Help us to be kind”. Well I have no truck with her God but by golly she was right with that thought. Kindness is probably the most important factor in human behaviour. If we are kind to each other we can cope with almost anything.

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I used to love visiting schools. Having taught for many years in secondary schools myself and visited, in various capacities, literally hundreds since I became first a part-time and then a full-time journalist, I always felt a real homecoming affinity. Not any more.

These days the most likely reason for my being invited to a school is to see a professional touring production which may or may not be linked to some sort of drama or other project. And the invitation always comes from the theatre company who then have to get “clearance” from the school. Sometimes the school refuses (the j-word upsets some of them) and we have to start again elsewhere.

Last week I was invited by the National Theatre to see their astonishingly good 90 minute version of The Curious Incident on the Dog in the Night-time which is being taken into 60 schools. I shall not name the school which was a tiresome, time consuming journey involving three trains and 15 minute walk from my base.

On arrival (after seeing a teacher on lunch break smoking in the car park in full view of the building – so much for “non smoking premises”) I was collected from reception by a businesslike drama teacher who took me to the room where the cast were prepping and left me. I apologised for my presence and had a joke with the actors about the cluelessness of some schools. Then a very brusque company manager appeared and demanded that I go with her saying “You can’t stay here. This is where the cast are working” as if I’d walked in there of my own volition.

She put me – nuisance as I was by now beginning to feel – in an empty auditorium where stage crew etc were sorting final details. There was still half an hour to go so I ate my lunch – an apple which I cut up with my in-bag knife.  When I walked 20 feet from my seat to bin my rubbish someone snatched said knife and said “What’s this knife doing here?” I explained and put it away in my bag. Apart from the cast, who were delightful, no one had yet so much as smiled at me.

After the show, I slipped out and attempted to use a paperless loo in which the lights didn’t work. Then I tried the main door which was locked. In the end I left by a back door across a delivery yard where a security guard (whose two cats grinned at me cheerfully) let me out without stopping his phone conversation. I handed him my visitor’s badge and scuttled thankfully back to the station. I recall a rather warmer welcome when I visited Brixton Prison – and at the time I wasn’t much impressed by that either.

All this, of course, is in the interests of “child protection”. We have allowed the existence of a tiny evil minority to turn our schools into hostile lock-ups where common sense no longer seems to prevail. So in a sense the evil minority has won. It now dominates the lives of millions of innocent people.

At another school I went to in North London a while ago, by invitation, to see a small scale touring production I was accosted by a security guard as soon as I put a foot on the path from the street to Reception. “What do you want?” he asked rudely before marching me into the foyer (he had a key to the main door) and handing me over to the woman on the desk who wanted me to fill in a form before proceeding any further.

Then there was the school in Birmingham I visited with the RSC whose lovely press folk, whom I’ve known for over 20 years, had picked me, and two other journos, up from New Street. The woman manning reception at the school demanded ID from us journalists – despite the fact we were with the RSC who had a partnership with the school.  Then we were allocated to a room to eat sandwiches but the only loo we were allowed to use had an infant school size WC. You can’t let journalists use the staff facilities – against the rules obviously.

It doesn’t have to be like that. Rules are open to interpretation – not to mention common sense and  decent manners. Last year, also with RSC, I went to Springhead Primary School at Talke Pits, Stoke-on-Trent. Notice I AM naming this one. With pleasure. The purpose was to see the production of The Tempest which was touring schools and Springhead had turned it into term-long cross curricular project of which everyone on the premises was intensely proud.

We journalists, and some other guests, were taken into the staff room and plied with tea and coffee. Everyone was chatty and friendly and, best of all, the Headteacher asked me if I’d like to see the children’s work on The Tempest which was displayed around the school. When I jumped at the opportunity he popped his head out of the staffroom, found three Year 6 children and sent me on a conducted tour with them. I was most impressed by the children’s confident, articulate and knowledgeable enthusiasm as well as by the head’s sensible risk assessment methods. He knew that I was a long standing journalist, brought to his school by the RSC which made it infinitesimally unlikely that I’d morph into a child molester or paedophile the moment I was out of his sight.

If only more schools were like that. I admire actors and companies who take work to schools because they encounter all sorts of problems of which one of the commonest is not being allowed unescorted access to lavatories.  It’s true schools were, back in the day, probably too slack but we have now gone far too far the other way. And until something changes, I shall probably give most school visits a miss from here on.

Photograph: Richard Davenport

Alexandra Dariescu & Desiree Ballantyne, King’s Place

Presented here as part of London Piano Festival at King’s Place, The Nutcracker and I is effectively a piano recital with attached ballet, both actual and projected. It’s an enticingly imaginative concept and a real joy to see/hear some of the most sublimely colourful music ever written uncompromisingly introduced to a new generation of (very) tiny future ballet lovers.

The music, played with passion and drama by Alexandra Dariescu  on a concert grand, consists of fifteen piano transcriptions by composers as varied as Mikhail Pletnev, Stepan Esipoff, Percy Grainger and Gavin Sutherland. All manage to connote the original orchestration pretty fully and pack in a lot of notes, the challenge of which Dariescu rises to with warmth and aplomb.

The action is projected onto a downstage gauze screen with delightfully sympathetic animation by Yeast Culture. Their blue Trepak dancers are really fluid, their nutcracker prince lithe and their mice witty without becoming Disney-like. The only live dancer, Desiree Ballantyne, communicates and dances with them all, just as Dariescu, who plays from memory in half light, makes smiling eye contact and keeps pretty well in time with the dancers. It requires quite special skill to relate and react convincingly to something the audience can see but you can’t  (think Dick Van Dyke and the penguins in Mary Poppins) and both performers bring it off effectively.

What I liked most about this 50 minute show was the lack of dumbing down. It’s simply music and movement with several quite long passages of piano only. There are no words or explanations but it works. Most of the children in the audience were engaged throughout.

Dariescu over-lards the Waltz of the Flowers for my taste and, for narrative cohesion, I’d prefer to return to Clara’s house as she wakes from her dream at the end in the usual way, instead of the rather untidy, unclear ending we get here but these are only quibbles. Generally I loved it and hope Dariescu might be planning similar versions of other ballets.

This show is touring worldwide this autumn and early in 2019. There are some further UK dates in December.

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

society/company: West End & Fringe
performance date: 09 Oct 2018
venue: Tristan Bates Theatre, London

★★★

Photo: Nikki Leigh Scott

They do things differently at Shake-Scene. Actors are given their parts and their cues but do not see the rest of the play or rehearse together in advance. This is, of course, how it was done in Shakespeare’s time – when there was no copyright law – to prevent actors from selling play texts to other companies.

I saw the second performance of The Taming of the Shrew rather than the first so these eleven actors, directed by Lizzie Conrad Hughes who sits at the side on the stage “on the book” were beginning to cohere although their clearly not knowing quite what to expect confers an engaging freshness.

The piece is set (without the tedious framing device) in a modern-ish environment – with 21st Century clothes and food served in a Pret bag – on a bare stage with audience on two sides. You sense that the lack of blocking and there’s rather a lot of standing around when a bit of stage business wouldn’t come amiss. On the other hand each of these actors is sufficiently skilled and engaging that they carry most of the play off simply on the power of personality. There’s a lot of nicely differentiated doubling. And all things considered it zips along at a surprising brisk base so the interest rarely dips.

We start with Petruchio (Matt Williams) looking for a rich wife and deciding to take on, and “tame,” the challenging Katherina (Helen Rose-Hampton) for reasons of his own. Eventually, of course, it’s ‘Kiss me Kate’, unexpected mutual falling in love and a private deal so that he wins his wager against the other men.

Williams is splendid as the dictatorial chauvinistic Petruchio. He shifts adeptly between fortissimo tyranny and dangerously, pretended, calculated gentle pleading. And his falconry soliloquy which makes his full intentions clear is pretty chilling. Williams makes the character charismatically entertaining but, my goodness, you wouldn’t, really wouldn’t. want him in your life.

Rose-Hampton finds an appealing vulnerability in Katherina. Yes she’s feisty and bitterly angry at the way her younger sister Bianca (Nell Bradbury) is always favoured but she’s also hurt and troubled and Rose-Hampton never lets us forget that.

Nell Bradbury turns in a lovely performance as Bianca – actually quite spiteful with a wonderful repertoire of dirty looks and smouldering rage when she’s not flirting. Also noteworthy are Jonathan McGarrity’s urbane Hortensio, Alexandra Kataigida’s knowing, simpering Widow and Linda Mathis as a sexy, laid back Vincentio.

Because these actors don’t know each other’s parts they often forget their own – that’s part of how Shake-Scene works so they call “line” to Conrad Hughes who prompts them. It’s quite an entertaining device that they do this firmly in character or in the tone of the moment so that the prompts almost become an integrated part of the play.

Photo: Nikki Leigh Scott

 This review first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-West%20End%20&%20Fringe-The%20Taming%20Of%20The%20Shrew%20-%20%E2%98%85%E2%98%85%E2%98%85&reviewsID=3342
Based on the novel by Mark Haddon, adapted by Simon Stephens. Produced by the National Theatre.
society/company: National Theatre (professional) (directory)
performance date: 09 Oct 2018
venue: Aylward Academy, Tottenham, London (part of a UK schools tour)

★★★★

Photo: Richard Davenport

This fine, sensitive entertaining study of high level autism and family break up, directed by Marianne Elliott, wowed audiences at the National Theatre in 2102, did very well in the West End and then toured nationally. Now an equally excellent 90-minute version is touring 60 schools so that a new generation meet Christopher Boone and reflect on his problems. Mark Haddon’s novel, adapted by Simon Stephens, has become a theatrical evergreen.

I saw it with a very excited and excitable Year 8 audience at Aylward Academy in Tottenham at an afternoon performance. Drama students had seen it the morning. The school has a large theatre in a separate building, configured in the round for this show, so there were none of the usual school hall problems. And the National Theatre ensures high level production values for this tour with a floor space like graph paper to connote Christopher’s mathematical talent and props in boxes around the perimeter. Of course it isn’t illuminated as in the original show but everyone is seated so close that it really doesn’t matter.

The now well known story is that a neighbour’s dog has been killed and Christopher, Sherlock Holmes-like, sets out to solve the murder mystery. Along the way he discovers devastating things about his own family.

The ensemble cast of eight is very strong and there’s a lot of accomplished doubling and physical theatre to connote things like a cash machine or a train. At the heart of the show is a magnificent performance from Shiv Jalota as Christopher – intense, angry, confused, trying to focus but living in a different mental world from everyone around him. When distressed he groans and howls and it’s deeply disturbing. At other time he grins and you know that somehow one day Christopher will be OK.

Equally fine is the work by Nick Pearse as Christopher’s troubled, often angry dad who really does love him but is struggling to cope as a deeply damaged single parent. No one in this well observed piece is perfect and nobody is wicked but there is a great deal of well captured anxiety, angst, poor decision making and human messiness. Pearse (also a good policeman and a few other roles) ensures that we feel every ounce of this man’s anger and remorse.

Not that this is any sort of tragedy. It’s very funny. Christopher’s autisitic eccentricities are often tenderly hilarious and of course a young audience will whoop in delight if an adult on stage uses the sort of language, they continuously speak in themselves in the playground.

All in it’s all a very impressive 90 minutes of theatre. This is not the place to express my misgivings the problems about reviewing shows in schools which have rigid rules about journalists on the premises but I fully intend to do so elsewhere soon.

Photo: Richard Davenport

 

This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-National%20Theatre%20(professional)-The%20Curious%20Incident%20of%20the%20Dog%20in%20the%20Night-Time%20-%20%E2%98%85%E2%98%85%E2%98%85%E2%98%85&reviewsID=3341

society/company: Dance Attic Studios
performance date: 06 Oct 2018
venue: Dance Attic Theatre

★★

This play is set three hundred years after the expulsion of long-lived Adam and Eve from the Garden of Eden. Cain, banished for the murder of his brother Abel, drops in with his new partner from Africa, Lucy, the (real-life) famous scientific discovery of the earliest example of a hominid found in Olduvai Gorge.

So we’re conceptually somewhere between Sapiens, Children of Eden, Noye’s Fludde, Lucas Cranach’s famous 1528 painting, with more than a whiff of Charles Darwin – all anachronisitically spliced together with no apology to Monty Python. It’s an undoubtedly good idea but in the event I’m afraid it’s clumsy, self conscious and laboured. Yes, in places Going Ape is mildly witty (Eve’s “apple scrumping”, Cain’s “gap year” and God cast as a voice over) but in general it tries far too hard to be funny with a surfeit of “erectus” jokes and dreadful puns such as Genny-Sis (one of the characters is called Genny and likes to be addressed as Sis by her quasi sister-in-law) which becomes – geddit? – Genesis. Oh dear.

It’s a mystery to me, too, why anyone thought that a 75-minute piece needs a 15 minute interval after 35 minutes. It makes the show feel bitty and the audition/casting scene in the second half when it is decided that they will tell the story of the creation in drama (cue for weary self referential theatre jokes) is lifted straight out of A Midsummer Night’s Dream but Shakespeare is, of course, better. Then comes an ending so weirdly abrupt that no one in the audience the night I saw it realised it had finished.

It’s a pity because at the heart of all this there is some good acting as competent people struggle to make something of a pretty unsatisfactory piece. Delroy Atkinson for example, whom I last saw in Present Laughter at Chichester, is strong as the blokeish, clumsy Adam and Gemma Oaten is convincing as Lucy in the second half when she morphs into a well-observed director of useless amateurs – a rather stylish take on Peter Quince.

 This review was first published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Dance%20Attic%20Studios-Going%20Ape%20-%20%E2%98%85%E2%98%85&reviewsID=3339

We seem to be morphing into a box-ticking case study. Whenever an Alzheimer’s patient is “assessed” (like being back in the classroom) he or she and/or the carer is always asked about dressing, undressing and eating. Until recently the answer to such questions has always been “Fine. No problems.”

But things are changing. “Was the hope drunk wherein you dressed yourself?” I often find myself thinking although Lady Macbeth’s context was different. I don’t want My Loved One to commit regicide but it would be good if he could find and put on his socks.

For the first time ever, I packed his case as well as mine for our recent trip to the US. I knew there was no chance whatever of his working out what he needed, finding it and putting it in a suitcase. So I put socks, pants, shirts, trousers, night things and his washbag into his trusty black suitcase along with the vests, to which my now cold-blooded man has become inseparably attached irrespective of the temperature. I told him that it’s meant to be warm and sunny in late September Washington DC (and it was) but he wasn’t having it. He has travelled the world, incidentally, with that case so it’s a very familiar old friend. Mine is brown and we keep his things and mine separate-ish although sometimes it gets a bit fluid on the return journey when it’s just a question of getting everything in somewhere.

On the first morning in Washington, I emerged from the bathroom to find him naked, in a flap and rummaging in my case. “I think I’ve come away without any pants and socks” he said anxiously. “Nonsense, I packed them myself” I said getting them out of his case and passing them to him.” An incident like that makes me go chilly with horror – yet one more thing he can’t grasp. I can almost see his brain fogging up. For the rest of the time we were away I mostly had to supervise his choice of clothes and dressing.

And I have, come to think of it, been helping, with pullovers and coats for some time. Child-like he can’t seem to get his arms lined up with the sleeves.  Sometimes, moreover, I find myself offering advice about appropriateness too. “There’s a reception before this show. You might be more comfortable in a jacket” or “That pullover looks really tatty. Why don’t you wear this nicer, newer one instead?”

Back home, ever since we moved in September 2016, all his clothes have lived in the big fitted wardrobe we had put into the next door bedroom which he uses as a quasi dressing room. These days I often find him, puzzled, opening the doors of the wardrobes in the smaller bedroom we sleep in, where my clothes live, because, thanks to Ms Alzheimer’s, he can’t remember where his own are.

Then there’s eating. By his own admission – so it clearly worries him – he now struggles to use cutlery to get food to his mouth. Well, we comfortably abandoned rigid traditional British table manners in favour of common sense and convenience decades ago – all that silly business about eating everything with a knife and fork and never turning the latter that we grew up with, for example.  If we’re eating, say, curry, casserole or risotto we lay a spoon and fork. If it’s roast potatoes and some cut-able vegetarian nut thing or if we’re having something like omelettes we use knives and forks as our parents would have done. Sometimes (for instance for a pasta dish with a side salad) we lay both. There’s nothing remotely “tricky” or formal about eating in our house so it’s a bit tragic to see MLO struggling. The food seems to fall off the spoon or fork and he gets bitterly frustrated. I think it must be a co-ordination problem which prevents him loading spoon of fork securely and then keeping it horizontal. I’ve offered to cut his food up and suggested that he stick to a spoon perhaps with a shallow dish rather than a flat plate but, he’s understandably not keen on being served up food as if he were a toddler. One more nail in the coffin of normality.

Did you ever read Martin Amis’s 1991 novel Time’s Arrow? It’s mainly a holocaust story but the central conceit is that the main character is whizzing through his life in reverse so that eventually he gets reabsorbed into the womb. Well of course, this is real life and that’s not going to happen to MLO but I can certainly see him moving inexorably back towards what Shakespeare called “second childishness”. Our youngest granddaughter, approaching her fourth birthday, is now probably better – and improving all the time – at dressing and eating. Any day now they’ll  shoot pass each other like vehicles heading in opposite directions on a long road.

Lago Theatre Company is a fine example of how theatrical entrepreneurialism – aka “making your own work” – can work, and work well for new or newish graduate actors. Rob Hadden, Jack West, Joshua Glenister and Peter Lofsgaard, trained together at LIPA. Drama School is where you start to build the contacts network which will sustain your career and these four got together and started Lago Theatre Company, named after the Liverpool pub in which some of their early ideas were hatched.

I first encountered them in No Help Sent at Tristan Bates theatre a year or two ago. Since then I’ve seen and enjoyed Wine and attended a rehearsed reading of Revelation 1:18. Now the three plays, all written by West, are just completing a short rep season at Tristan Bates where I saw and reviewed them admiringly on a single evening last month. The other three founders appear in some of the plays (and do other work elsewhere as and when, obviously) with Harriet  Clarke who trained with them at LIPA playing the only female role. They also work with other directors and bring in additional actors as needed. Revelation 1:18, which West directs, has been shortlisted for an Offie which I’m delighted about because it’s a good play and I approve passionately of the way in which it has been developed by this young company.

The training industry has changed a lot in recent years. Today, all drama schools worth their salt teach their students to be proactive rather than passively (despairingly?) waiting for the phone to ring with job offers and LIPA does this particularly well. So committed is the college to encouraging students, graduands and graduates to form companies and create shows that it will sometimes  support such projects with grants. And, starting this autumn, LIPA has a new MA which focuses entirely on helping students to take charge of their own careers by preparing original work for touring. MA Acting (Company) runs in association with Liverpool Everyman and Playhouse.

Meanwhile I shall continue to follow Lago and all who sail therein because they really are a rather good case study and I’m intrigued to see what they do next.

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