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“We are the music makers”

Last Saturday I pushed, shoved, forced My Loved One a million miles out of his comfort zone. “Sod you, Ms Alzheimer’s” I said to our horrible predatory visitor and took her victim to a singing day in Folkestone.

Some background: I have been almost continually involved in some form of amateur music making since I first warbled in the infants’ school choir at age 5. In contrast, MLO, although a lifelong music lover (mostly a “classical” chap), hasn’t been a participant since he confronted his hitherto suppressed atheistic misgivings and left the church choir at age 16. So it was 55 years since he last sang with others and, of course, he doesn’t read music.

The singing day in question is an annual Gilbert and Sullivan (and we both love G&S) event run by someone I know through the huge and informal Kent music making network. It’s the usual deal – rehearse during the day with local soloists, then sing it all to an audience in the evening. Using the Tower Theatre in Folkestone, it routinely raises several hundred pounds for charity.

I’d asked the organiser/Musical Director in advance to seat MLO next to someone “strong” in the basses. The upshot was that as soon as we arrived we were introduced to a delightful father and son – the older man is an organist and retired clergyman. They looked after MLO all day with heartwarming kindness, helping him to keep his place in the score and to stick the post-its I’d given him in useful places. The programme was Trial by Jury – which MLO knows well by ear – and extracts from Utopia Limited which he doesn’t but neither did anyone else so it didn’t matter. Most important of all, MLO had to chat to people he’d only just met and that is vital. Reclusiveness is just an open invitation to Ms A to do her worst because it creates a vacuum for her to move into. And his new friends gently involved him in conversation in such a way that MLO was able to acquit himself with dignity.

He was, however, excruciatingly nervous. At lunch time he told me that was going to opt out of the concert in the evening and sit in the audience. Then during the afternoon a little miracle happened. Suddenly MLO seemed to “get it” and was able to start singing a bit and enjoying himself. From my place in the altos, further along the same row I could actually see the change taking place. By 7pm he was looking lovely in his DJ and ready for off. “Lively” might be a bit of an exaggeration but there was definitely a sense that I had got nine tenths of my husband back – on temporary loan from Ms A, as it were.

The concert was fun. I haven’t sung Trial by Jury for ages and Utopia was quite an adventure. At the end MLO’s eyes were shining – yes, shining. He’d taken part in an event with others and had a good time. He talked about it animatedly for most of the drive home to London too. He was on a high and Ms A was definitely absent and I managed not to feel sad or angry for several hours.

That’s what music making does of course. Those of us who do it regularly and/or often know that the satisfaction of having done whatever it is, is a very heady drug. Taking MLO to this event was an experiment. I couldn’t, as it turned out, be more pleased with the result. He’s already looking forward to HMS Pinafore at Folkestone next March and I shall find other similar things for him (and me) between now and then. Apart from anything else, there’s a lot to be said, at this stage in proceedings for something we can enjoy together.

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Antony Sher is a polymath. He is one of the finest actors in his generation. No one who saw them will ever forget his tensely acrobatic Tamburlaine, his maligned, manic Shylock, his tragically delusional Willy Loman or his vulnerably self-absorbed Falstaff – to mention just a handful from decades of fine work.

He’s also a respected writer with four books of theatre memoir, an acclaimed autobiography and several plays on his CV. And now comes King Lear and this book … describing his journey from first agreeing to play Shakespeare’s mad king to the opening night at Stratford last year.  It is entirely and extensively illustrated by Sher’s own paintings and drawings, mostly of himself and other actors. Yes, he’s an accomplished artist with several prestigious exhibitions behind him too. The images are vibrantly alive with character shining out of each and every one of them.

Like Alan Bennett, Sher is a diarist and that’s where the meat for Year of the Mad King comes from.  As he starts to learn the lines (often facing the countryside from the house he shares near Stratford with his partner and director, Gregory Doran but also in Brooklyn and elsewhere) he reflects on the play. Those reflections, observations and thoughts are effectively a King Lear critique so this book is essential reading for anyone studying or trying to make sense of the play. Is Lear suffering from dementia? No. Why does the Fool suddenly disappear? How do you deal with the practical problem of carrying on the dead Cordelia when you have one arm and shoulder which is both painful and useless as Sher has at this time? What should Lear look like? And so on and on.

At another level Sher writes movingly about the non-Lear things which are happening concurrently. He loses both a sister and a sister-in-law during the Lear preparations and his close friend  actor/director Richard Wilson has a major heart attack. The distress, shared by the ever-present, practical Greg, is beautifully evoked. At the same time Sher seems to have developed a major hearing problem which specialists prove unable to help with until one puts a spanner in the works with a rather unwelcome suggestion. He writes: “Thought back over the last year. Uncanny. It’s been dominated by preparations for Lear, and characterised by Lear-like obsessions: physical weakness (ailments) and the smell of mortality (death). Real life has certainly provided plentiful research material for playing Lear, but it hasn’t felt useful. Just too close for comfort.”

In the background to all this is the warm, loving, supportive relationship with Greg who manages to run the RSC, to direct King Lear and still have time to photograph a hedgehog in the garden or to cook a lovely meal. Sometimes there’s stress of course, especially when Sher is so concerned about his hearing that he threatens to pull out of Lear. “The private and professional relationships have got impossibly tangled” says Greg at one difficult moment. The reader feels involved and very concerned  too.

Of course, they find a way through the problems. “So … we’ve done it. We’ve done King Lear” Greg says after they’ve had slipped away from the first night party, speaking in what Sher describes as “a dazed but joyful way”.

Actually, on balance, I think “polymath” may be too tame a word for Sher’s multifarious creative talents. I think he would have excelled on almost any path he’d chosen – except, by his own admission, music making. This book is a deeply compelling read with an insight in almost every sentence.

 

In his prime My Loved One used to run along the tops of beach breakwaters to show off to the kids and anyone else who was about. He was proud of his agility and balance and, to be honest, a bit boorish about it. Then came a ladder accident in 2002 which put him on crutches for months and now Ms Alzheimer’s has shoved in her nasty oar.

Today he has problems with walking down steps and stairs. Up isn’t quite so bad but the descent is tortuous. “I’m frightened of stairs because when I look down it’s as if they’re coming up to meet me” he says, explaining a not-much-discussed but, I suspect, quite common Alzheimer’s symptom.

Ms A has, apparently, wormed her dastardly way into the bit of his brain which manages balance – and scuppered it. I find this excruciatingly frustrating, for example, when I’m standing at the bottom of a flight of stairs on the tube waiting for him and the train behind me – which of course I would have hopped on had I been alone – pulls out of the station. It must be even more frustrating for MLO himself of course, and I do realise how selfish my plaints must  sometimes sound.

Eighteen months ago, as regular readers of these blogs will know, we moved out of our spacious, town centre Victorian villa in Sittingbourne and downsized into a 3 bedroom 1930s house in our native South London. Our old house had 52 steps from attic to basement and both MLO and I went up and down them easily all the time. I  thought  the new house which has a single flight of 14 stairs would be even easier, but actually, step-wise for MLO it isn’t.

It’s to do with the relative space inside the two houses. All those steps in our former home were quite shallow and the staircases were a bit wider. Our 14 “new steps” are a good bit steeper and there’s a tight turn (big metal hand grip on the bend for MLO now) at the top. In fact, our younger son aged 42 and as fit as a flea, managed to fall down the entire flight when, a few months ago, he tried to race down them in a hurry – fortunately sustaining only a couple of bruises. His three year old daughter still says solemnly whenever she sees us or our stairs “Daddy fell down your stairs” and I expect she’ll remember the drama of it for the rest of her life.

This potentially dangerous gradient means that MLO comes down our stairs very carefully hanging on tightly to the banister rail – a new one put in for both cosmetic and safety reasons last year. The speed isn’t even andante. It’s largo.  And it makes him look, alas, much older than his 72 years.

It’s the same when we’re out, I don’t think I’d noticed until recently just how many flights of steps you walk down to get onto the tube – or off many mainline stations. At Elephant and Castle, for example, there are two huge flights to get to ground level when you “alight” (to borrow a bit of transport-speak)  a Thameslink train and it’s so busy that it isn’t always easy to get to the side of the staircase so that you can hold the rail. MLO has got into the habit of waiting until the crush has dispersed if necessary because he really must have access to that rail. Then, for the Underground, you go down in a lift and then down lots more steps especially if you’re heading for the Bakerloo line. It takes MLO quite a while and I have to build in extra travelling time when he’s with me.

Until recently we were the sort of people who routinely walked down and up stairs from choice in hotels, big shops and so on because it’s healthier than the mechanical alternatives. And I still do. But if we’re out together it’s now quite a relief to put him safely on an escalator, or even in a lift, and know that he doesn’t have to do all that painful, step by step, one foot looking anxiously down as he does so.

Those breakwaters suddenly seem a very long time ago.

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Leicester Square Theatre,  Tuesday 27 February 2018

This showcase highlighted the talent of the 28 students graduating this year from the three year BA in Acting. Neatly structured with 14 meaty duologues, it presented reasonably long items rather than the 30 second appearances which clutter some showcases. On the other hand it would have been good to have seen these young actors in more than one role – the only way to judge versatility and the ability to get in and out of character quickly. Soon, after all, many of them will be employed in ensemble shows in which they might have to play three or four contrasting roles in a 60 minute show.

Having 15 female and 13 male actors in the group allows plenty of scope for man/woman dialogues. For example Lucy Syed and Cellan Wyn were terrific in an extract from Growth by Luke Norris. He is trying to be a sperm donor but failing to produce the necessary. She is the clinic receptionist. The double entendres fly between them with adroit comic timing and they are both very good at showing what they’re thinking before anything is said.

McQueen by James Phillips is written in a different style from most of the other chosen passages. The language is heightened and expletive free so it’s almost as it we are in Shaw or an traditional translation of Ibsen. Hana Butterfield was brittle, wan, and deeply disturbed in the way that Ophelia is. As Alexander McQueen, Eddy Westbury was calm, concerned and responsive. There was a rather appealing gravitas in his performance.

I also admired the work of both Archie Nutley and Camilia O’Grady in  Dyl by Mark Weinman – one of the many duologue choices in this showcase which was refreshingly new to me. It’s an awkward meeting between a separated couple who have a troubled history and a child. Nutley found the inner frightened little boy and O’Grady brought blossoming maturity to her character. And they were fully focused on each other.

Listening is the essence of good acting because it means you are spontaneously responsive rather than on auto-pilot. Tyler Dobbs (extract from BU21 by Stuart Slade with Anna Thygesen who is also good) is a fine example of this. His attentiveness really showed.

The funniest item in this generally pleasing showcase was Mercy Fine by Shelley Silas which explores chemistry between two female inmates. Thaddea Graham’s character is facing a tribunal so Cash Holland’s Freya tries to help her by rehearsing it. Both were very funny and played their lines for maximum effect and Holland was hilarious in her impersonation of the prison officer they know and loathe. Incidentally I predict that Thaddea Graham will be much sought after: she is both British Chinese and Irish. What a marketable combination!

There was a rather nice verse prologue at the beginning of this showcase – hints of Shakespeare, bit of rap and all about becoming an actor. Congratulations to whoever wrote and delivered it   – the same person?. You should have been credited in the programme.

PICK OF THE BUNCH: TYLER DOBBS (chosen by Bruce Wall of London Shakespeare Workshop and David Padbury of Allstone Productions)

So it isn’t press night – because you were at another show then. You arrive at the box office and say politely: “Hello. My name’s Susan Elkin. There should be a press comp for me for this performance. And a programme, I hope, because I’m reviewing it for Magazine X or Y?”

The best response is “Yes there is! I saw it here when I began my shift. Here it is – and your programme. And there’s a drinks voucher for you as well”. Much relief. It means the PR or marketing person has done exactly what he or she agreed/offered or promised to do. And that’s what happens about two thirds of the time. Thank you to all those efficient people.

I could, however, write a book (and perhaps I should) about the other third when communications have failed dismally. Typically my polite opener is followed by a furrowed brow and much frantic computer typing in the box office. Then, perhaps, he or she will pop away to a back room to fetch someone more senior. Occasionally the senior person says “Yes! Hello Susan. Here it all is. I had it awaiting you in my office”. More often than not his or her arrival just means more computer tapping while I stand there feeling awkward – mentioning, from time to time, the name of the person who is meant to have organised this and/or waving the email which in which he or she told me the ticket would be there.

On one occasion – at Churchill Theatre Bromley – the PR, who has since left the company, had clearly done nothing at all and, although the woman in the box office was scrupulously polite I suspect she thought I might be a fraudster (must be the dark glasses and fur coat I always wear) and asked me for identity before, after much discussion, she finally gave me a ticket. It really isn’t pleasant to be put in this position because someone somewhere is not doing their job properly.

It’s surprising, too, how often there isn’t a programme put aside at the Box Office. After all they, presumably, want the review but I can’t review a show without a programme or cast list. Often they say “You’ll need to ask front of house”. Many programme sellers are very junior and have no authority to give programmes to people who say they’re reviewers even if you show them the ticket with “press comp” on it.  So the FoH manager has to be fetched.  Once (Orchard Theatre, Dartford for a touring show) I was told that there were no programmes  and that I should go to the stage door and ask the stage manager for a cast list. My husband set off to do this on my behalf and came back with a hand written list. Almost unbelievable.

All this is why, if I can, I always arrive at venues early – even if it means I have then time for a cup of tea in a nearby café before the show. It also means I don’t have to do all this negotiating with a crowd of restive ticket buyers/collectors behind me in a lengthening queue.

The other problem – and this has happened to me perhaps half a dozen times over the years – is that they issue a comp ticket and then sell the same seat to someone else. So the two of you stand at said seat waving your identical tickets at each other like Tweedledum and Tweedledee. I always tell the paying member of the public to take the seat while I go and sort it out with the management – who have always (so far, anyway) found me somewhere to sit even if they have to give me a house seat. More hassle. More time. And if everyone were really on top of the job it wouldn’t happen.

The message of this blog? I’m very grateful to the many theatre staff who do a crackingly good job. But a few of your number do, I’m afraid, need to try a good bit harder.

 

 

A young man needs a lover, a middle aged man a housekeeper and an old man a nurse. Sexist but true. Well to be fair I didn’t do much of the middle bit but because we reversed roles but I’m doing plenty of the latter now to make up for it.

Last week, chauffeur’s hat on my head, I had to take My Loved One to the dentist for a filling and to see the hygienist. I took him into the waiting room and handed him over – the staff are very understanding – and repaired to the café over the road with my pencil and the book I was reading to review. Work never stops.  When I returned to collect him I was informed that the hygienist wanted to see me because she didn’t think MLO had processed what she’d told him.

A flashback: When MLO was a young lad he came off his bike, smashed his front teeth and in those bad old days of primitive dentistry lost the lot. He has worn a denture ever since. Is there a worse turn-off than false teeth?  I am mildly phobic about them anyway.  I find them utterly revolting to see or even think about. When he and I first became … err .. intimate (and that was a jolly long time ago too) he promised me with ardent fervour that I would never need to see or have anything to do with the horrible denture.

And so it has proved. In half a century I have almost never seen MLO without the repulsive thing. Even when a nasty ladder accident and foot reconstruction surgery put him out of action for months in 2002, and I had to do a lot of things for him, he still looked after his own teeth – thank goodness.

Until now. What the hygienist wanted to tell me was that, presumably thanks to Ms A, he is not cleaning any of his teeth – real ones and false ones – properly. He’s heading, she says, for fungal infections and there are already signs of problems. So we have to adopt a new procedure. And I have to supervise it. Ugh! I promised a lot of things in my marriage vows and I’ve kept them scrupulously but I never agreed to be tooth monitor. In fact I’d have probably bolted from the altar had I had any inkling that denture management would ever be on my job list. Surely “in sickness and in health” carries a false teeth exemption?

Well, despite all that, you can’t accuse me of not being conscientious. I bought a couple of tubes of Steradent (art come to this?), read the instructions and found a plastic pot. I dissolved one of the pesky things to make the blue solution, gave it to MLO and said. “Go into the downstairs loo. Put your teeth in this pot and leave them for five minutes. Don’t come out until that time is up. Then rinse the pot, put your teeth in your mouth and carry on as normal.”

It’s meant to be a nightly routine and that was eight nights ago. Since then I’ve had him several times wandering round the house with the pot in his hand. Once I found it on the draining board. Another time he wanted to bring it into the bedroom with the teeth floating in it.  Five minutes seems an impossible concept. At other times he’ll say something vague about “turning water blue” and no, I don’t know what he means either.  He has also several times left the denture downstairs and come up, toothless, to ask me what to do next – horrid sight.

Left to himself he does nothing except brush as usual for about 15 seconds which, of course, is woefully inadequate.  He simply can’t carry out a simple instruction and procedure any more. “Let me write it all down so I know what to do” he said. So we did that but he hasn’t looked the paper since. We’ve spiralled a long way downhill in recent months – even further than I realised. Damn Ms Alzheimer’s and her intrusive awfulness.

I think I’ve been more stressed about his bloody teeth than about any other single thing since Alzheimer’s was diagnosed. It’s driving me potty and, a lifelong bruxism person, I’m probably grinding my own fragile teeth to stumps. I can’t wear my mouth guard all day, after all.  I cajole, explain, shout, fulminate, plead, cry and still he gets it wrong.

Normally I try to be kind and empathetic. Sometimes I even succeed. But false teeth (even typing those two words fills me with revulsion) are a step too far.

 

 

 

 

 

 

 

Anvil Arts, Basingstoke, 16 February 2018

Dvorak is to the Czech Philharmonic what, say, Strauss is to the Vienna Philharmonic. It’s in the blood and in this exuberant concert you could hear all that Bohemian ancestry pounding in every bar. And they want to keep it that way, which is why almost every player in the orchestra is Czech. The result is a phenomenal corporate “instrument” which conductor Tomas Netopil, an energetic but businesslike conductor, plays, and plays with, to remarkable effect. By the time we got to the final encore – Brahms Hungarian Dance 5 – he was ready to have fun jokily exaggerating the tempo changes with electrifying precision and I certainly wasn’t the only person who left the auditorium beaming with delight.

One of the reasons for the distinctive sound is the unusual layout. Tomas Netopil has violas on the right opposite the first violins with cellos and second violins on the inside. Double basses, meanwhile are majestically lined up along the back behind the horns and woodwind on a tier which puts their feet on a level with violinists’ heads. It means that you can often hear both viola and bass parts with unusual clarity and alters the balance of the whole.

The programme was a Dvorak sandwich. We began with the Symphonic Variations in which Dvorak imaginatively explores the fugal form at one point moving from second violins, thence to violas, first violins and cellos in that order. It’s quite a showpiece and doesn’t get as many outings (in the UK at least) as perhaps it should. It’s a very vibrantly orchestrated work which allowed the orchestra to show what all its sections can do.

In the middle we left Dvorak’s homeland and headed to Russia for a splendid performance of Shostakovich’s First Cello Concerto – a work which is very much more on the public radar these days than it used to be because brilliant young players (Guy Johnston, Sheku Kanneh-Mason et al) keep winning major competitions with it. On this occasion Alisa Wielerstein, serious and romantic looking in a statement scarlet dress, played it excitingly with lots of tension. Accompanied by a slightly scaled down orchestra, she took the first movement at a terrific tempo and found a mysterious, plangent but appealingly resolute sound in the moderatomovement. When she finished someone in the audience gasped “oh!” in amazement. It was involuntary, I think, but a very valid testament to Weilerstein’s verve and technique.

And so to the sunny New World Symphony in which the unconventional orchestra layout heightened awareness of the apposition phrasing between lower strings and other sections. And Tomas Nepotil managed to make the largo sound as fresh as if the audience had never heard it before. It was played with warm, affectionate delicacy, especially at the recapitulation of the challengingly familiar first subject.  I loved the effect of the bass pizzicato when you can see and hear every player clearly and the rousing scherzo accomplished all its time signature and key changes so neatly that one was left sighing in admiration at the tightness of that glorious Czech sound. And as for the finale, the speed was so cracking in places that it made my amateur violinist fingers ache even to think about it. But it came off with aplomb.

It’s a long journey home from Basingstoke to where I live in South London and this leisurely concert – with its 7.45 start, two encores and lots of applause – didn’t finish until after 10.00pm. I have rarely been so glad that I made the effort.

First published by Lark reviews:

 

Merry Opera Company

Wetherspoons Opera House, Tunbridge Wells and touring

Billed as “opera meets jazz” this 1960s Figaro is rescored by Harry Sewer for kit drum, bass and keyboard led by Gabriel Chernick – a development which took many audience members, including me, by surprise although there was plenty of warm appreciation and laughter.

Interestingly, many of the arias are sung more or less straight against swing and other jazz rhythms which must be pretty challenging to do. The accompaniment plays around with harmonies too. It works quite well in some numbers – such as Cherubino’s  (Bethany Horak-Hallett) agitato Act 1 number, although there are some rocky starts to arias as singers awkwardly find their way into the melody without the usual cues.

Much less successful is, for example, Figaro’s (Alistair Ollorenshaw) angry patter aria in the final act which loses a lot of edge because it is softened and trivialised by the jazzy stuff from the band. And the Countess’s (Rhiannon Llewellyn) second big aria, usually sung as “Dove sono”, is dreadful in this version. It is one of Mozart’s very simple glorious melodies depicting a complex mindset and he knew that it needs only the gentlest of accompaniments. It is completely spoiled by the fuzzy treatment it gets here although Llewellyn, a fine singer, does her best to rise above the schmultz.

In amongst all this is some excellent singing especially in the quartets and other group numbers. The cast has great fun with the reconciliation septet at the end of the first half and the choral work in the finale is beautifully balanced.

Anna Sideris is a suitably sparky Susanna, there is a good Handyman cameo from Christopher Faulkner and Eleanor Sanderson-Nash is a delightfully clear voiced, fresh Barbarina.

Phil Wilcox is strong as the wrong footed Count too, especially at the end when he hams up all those rising fifths. They’re traditionally associated with forgiveness but we know full well that he doesn’t mean a word of it – and, in this version, the Countess knows that too.

Amanda Holden’s translation into English is hilarious and that’s partly why this piece comes off theatrically. There’s a lot of humour in the incongruity of the juxtaposition of the Enlightenment with the 1960s, musically and in every other way – and in many instances that is what makes the cognoscenti in the audience laugh. At another level it’s just cheerful and funny. Michelle Bradbury’s striking, and ingenious, black and white Chanel-style set adds to the ambience. So do black-clad, finger clicking figures – part of the 10-strong cast who form an ensemble between their other appearances – who dance with authentic 1960s loucheness.

I haven’t seen such an experimental Mozart opera since I saw Don Giovanni in a gay nightclub with all roles except Don Giovanni reversed. The material is, of course, so strong, that it bounces back fairly robustly whatever you do to it. This Figaro is a pleasant enough way of spending a Sunday afternoon but on balance I prefer my Mozart jazz-free.

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