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Fighting Alzheimer’s on the dance floor?

Barn dancing as Alzheimer’s therapy? Well why not? It’s probably a marginally better bet than some of the fragile straws you are led to clutch when you live with Ms Alzheimer’s.

Last weekend we went to a ceilidh/barn dance in a village hall on the Romney Marsh in Kent. Run by the two year old Romney March Morris side (yes, it’s OK, thanks I know all the jokes about about buggery and morris dancing), it was a charity event to support the child of one of their number, and others like him, suffering from a rare and life threatening disease.

Because our parents were heavily involved in the 1960s folk revival my sister and I grew up steeped in this sort of thing. And our father, Ken Hillyer, led a fine and very respected ceilidh band, The Southerners, for decades. Later in life when rheumatism made three hours with his fiddle under his chin a bit difficult, he successfully reinvented himself as a barn dance caller for hire.

My sister has now returned to her/our roots and recently taken up fiddling for  Romney Marsh Morris (as well as playing classical music with me in other contexts). When she invited us to the barn dance I was very curious to see how My Loved One would cope with it. It isn’t as though it was new to him. In the early years of our marriage we did a great deal of square, folk, country and other vaguely traditional forms of dance – through the clubs, events and venues I’d known most of my life. And when we moved to the Midlands for a few years, we joined a local group in order to meet like minded people. It’s been a while, though.

So there we were, feeling as if we were in a time warp, at this wonderfully English – amateurish but efficient – hop. How would MLO fare? I first got him on his feet to do a simple longways set dance. “Bemused” is a polite word for how he looked but somehow we coped. Apart from anything else, it was a good example of how kind other people are. Barn dances are friendly, family orientated events and the man next to him could see the problem instantly. Every time (we did the dance eight times through) MLO had to cast away from me with the other men our new friend steered him until I could grab him again at the other end of the set. Not once did he remember what he had to do which, objectively, I thought was interesting. A combination of short term memory loss and diminishing spatial awareness doesn’t help much in a folk dance.

He did it, though which pleased me. Sadly, he said afterwards that he felt stupid and didn’t want to spoil things for others. Of course he hadn’t spoiled anything for anybody. There were plenty of people there who hadn’t got a clue and it didn’t matter at all – but I didn’t manage to get him up again until the very end of the evening. “Come on,” I said “You’ll be OK with Circassian Circle because – you remember? –  it’s a couple dance and I’ll be there all the time.” And so it proved.  I think he actually remembered the dance from years ago and even managed to feel the rhythm – more or less. At the end he was smiling and laughing as you’re meant to at the end of a cheerful dance and a rather uplifting evening.

Will we make a habit of it? I wouldn’t rule it out if the opportunity arises. MLO raises his game when he’s in a social space with other people and that’s got to be a good thing. As for the dance itself, I think there probably is some mileage in it as Alzheimer’s therapy because it exercises the memory and encourages you to move independently. Decades ago, my mother used to teach folk dancing to a group of adults with learning difficulties (as we’d now describe them) at Leybourne Grange near Maidstone. She was always impressed with, and moved by, what a lot they seemed to get out of it and I suppose this is the same sort of thing. I also remember, one of the groups the parents were tied up with went regularly to Dorton House, a school for the blind, near Sevenoaks to help with an early evening folk dance club and I often went too. Formation dancing – because that’s effectively what most of it is – did wonders for the confidence of children who couldn’t see where they were going. They had great fun too.

I reckon, therefore, that many Alzheimer’s folk could probably benefit. Most are elderly of course but most of this sort of dancing requires only a rhythmic walk. No arabesques or somersaults are required. And the gentle exercise gained is a bonus.

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By Lucy Kaufman. Produced and directed by Jonathan Kaufman for Spontaneous Productions Theatre Company in association with Kirkdale Bookshop.
 

The youngest daughter of Karl Marx, Eleanor lived in Jews Walk in Sydenham jokingly describing herself as “The Jewess of Jew’s Walk.” She was the first translator of Ibsen and Flaubert into English, an indefatigable campaigner and political theorist. Lucy Kaufman’s interesting play is based partly on Rachel Holmes’s recent biography of Eleanor and presents her as an intriguing personality and achiever in her own right rather then simply being a post script to a famous father. And the story is a pretty gritty tragedy.

At the centre of this five-hander is an outstanding performance from Sarah Whitehouse as Eleanor “Tussy” Marx. She is variously brittle, incredulous, impetuous, flirtatious and distressed. Totally convincing, she finds a quality of stillness in the character. When others are speaking you can sense the intensity of Whitehouse’s listening. It’s a huge role – it’s a 2-hour, 35-minute show and Whitehouse is rarely off stage – which she sustains with nicely controlled energy.

The support cast is pretty strong too. Kirsten Moore scuttles about and speaks with a nasal twang as Eleanor’s beloved maid and quasi friend. Moore also stage manages the show. David Sayers is chilling as Eleanor’s deceitful and abusive common law husband. Although the psychology is hard to take – what on earth does she see in him? – the acting is exemplary. I admired the warmth which Simeon Oakes finds in Eleanor’s friend and half brother, Freddy (although his identity and relationship to Eleanor needs spelling out sooner) and the warm plausibility of Doctor Shackleton played by Robert Maskell.

I applaud the set and costumes too. Designers Abby and Alice have made nice use of the wide, quite generous playing space and used enough period furniture to suggest a late Victorian interior. And the clothes are lovely – especially Whitehouse’s opening scene peacock dress.

Spontaneous Productions is a Sydenham-based company and several members of this all professional cast live locally. The multi-use venue belongs to Lewisham Borough Council and deserves to be better known.

Generally a good evening then although the play is too long for the ground it covers. A good editor would cut it by 30 minutes. It burns too slowly at the beginning and there are several superfluous digressions.

First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Special%20Events%20(British%20Isles%20&%20Rep.%20of%20Ireland)-ELEANOR%20MARX:%20The%20Jewess%20of%20Jews%20Walk&reviewsID=3180

A Little Angel Theatre production supported by Molecule Theatre
society/company: Little Angel Theatre (directory)
performance date: 18 Apr 2018
venue: Little Angel Theatre – Sebbon Street studios

Little Angel’s Sebbon Street studios become the Little
Angel Recycling Centre (LARC) for this immersive, promenade show. A quest story about a plastic water bottle (named Bertie) who wants to be recycled and become a kite is framed by the audience’s arrival at, and departure from, a very worthy sounding “educational tour of our recycling plant” with audience members busy sorting rubbish. Of course that’s a quasi-spoof and, directed by Samantha Lane, the central narrative is as magical as everything else Little Angel does – although there are some serious thoughts about the environment along the way.

Bertie starts as a bottle. Then he gets a face. After a bit he has legs and then once we’re into the central story he’s a fully fledged green puppet in a world where everything is made of junk. Emma Tompkins’s designs (on which she was assisted by four Little Angel trainees: Shaun Latif-Shaikh, Esther Potter, Paless Esuk and Deanna Mathers) are delightful – a turtle made of an old citrus squeezer and a glittery sock, jelly fish formed from plain supermarket carriers and, the piece de resistance, a huge rattly octopus made from an umbrella with tentacles of plastic glasses and bottles. So much imaginative use is made of rubbish in three different rooms, with everything deftly to hand for the two performers that this must be a challenging show to stage manage so congratulations to Josephine Tremelling for fine work.

Lori Hopkins as Scoop who tells Bertie’s story and plays Bertie is vibrant and energetic, taking most of the young audience with her most of the time just by skilled use of her eyes and colourful voice. Hopkins works on this show with one of three trainees who plays the recycling plant employee – the dour foil to her childlike liveliness – and various other parts during the main story.

I saw this show with a party of 29 children and seven adults from Malorees Junior School in Kilburn who enthusiastically provided storm noses, bottling plant sound effects and rousing shouts when invited to. The fidgety boy next to me kept saying things like “There’s someone at the back moving the legs” or “Let me have a look!” when a nearby girl was given a mini thunder machine to shake. He’s clearly a young man keener on sussing mechanics than imaginative suspension of disbelief – but theatre’s a broad church which can be engaged with and enjoyed at all sorts of levels.

 First published by Sardines: http://www.sardinesmagazine.co.uk/reviews/review.php?REVIEW-Little%20Angel%20Theatre-Junk&reviewsID=3177
 
 
 
 

 Twelfth Night at The Watermill Theatre. Members of the cast with Lixi Chivas and Ana Becker. Photo by Philip Tull (2)

Twelfth Night at The Watermill Theatre. Members of the cast with Lixi Chivas and Ana Becker. Photo by Philip Tull

Last week I went to the Watermill at Newbury. It was my first visit and I was bowled over by the sheer beauty of the place. What  a treat! I’m now really looking forward to going back there for a performance in June.

The purpose of my visit was very specific. The forthcoming production of A Midsummer Night’s Dream directed by Paul Hart, and building on the success of last year’s Twelfth Night, is to have integrated signing at some performances. I’d been invited to drop in on rehearsals to see sign performer Lixi Chivas working with, and alongside, the cast of ten talented actor-musicians.

It was fascinating to watch. Lixi was at the heart of the action signing as much with her face and body and her hands as she interpreted the words in the scene at the end of Act IV when the mechanicals are initially disconsolate because Bottom has disappeared. Then there’s huge excitement when she (Victoria Blunt – who’s going to be outstanding in this role) reappears.

Even while the director is speaking Lixi is usually signing to assist Sophie Stone, the deaf actor who’s playing Herma, interestingly, presented as if she were a deaf character. “It means” Lixi explained to me when they broke for lunch, “that the other three lovers can, for example, cut her out of the conversation by turning away from her during the quarrel – it creates a different dynamic between them”.

Lixi was also open to creating bits of stage business with cast members so that she joins them rather than being any sort of “add-on”. She was soon holding hands and exchanging glances with Emma McDonald’s sexy charismatic Hippolyta, for example.

When Lixi chatted to me during a three minute break immediately after my arrival, Sophie was present too so Lixi was speaking to me and signing simultaneously in order to keep Sophie in the conversation. It’s very impressive on several levels – first I’m stunned by Lixi’s acting, choreographic and communication skills and second it’s very refreshing to see inclusivity working so well that it’s a non-event. Moreover Lixi seems to have learned the entire play which is more than is ever required of any mainstream actor.

After a while they moved on to the next scene which starts with Hippolyta and Theseus trying to make sense of the concept of a shared dream and then includes the four lovers. “Shall I sign to Sophie at that point?” suggests Tyrone Huntley, who’s playing Lysander, as ideas gradually gel.

In the signed performances of this show there will be two interpreters integrated into the action. Lixi will be joined, as for Twelfth Night, by Ana Becker.

Lixi’s role at the Watermill is an unusual one. The theatre has funding from the Greenham Trust, a charity fomed with the residual assets of the Greenham Common movement, to employ Lexi part time for three years. That three year tenure, which is just ending, has enabled Lixi and the Watermill to set up a number of very worthwhile  community inclusivity projects.

The excellent news is that Greenham Trust has now committed for a further three years so that the work can continue.

A Midsummer Night’s Dream runs at The Watermill Theatre from 10 May to 16 June. BSL integrated performances are on 13 and 16 June.

 

Last week we – My Loved One, Ms Alzheimer’s and I – went on holiday. I hired a cottage, a converted stable attached to a multi-use farm on the outskirts of Hexham, and drove 300 miles north to get us there.

I’m nervous about holidays these days not least because it’s pretty tricky to find something which will work for our present situation. In the fairly recent past we’ve driven round America, South Africa, Australia and Malaysia and loved it. We also like city breaks in Europe and beyond and rural retreats in the UK.  Neither of us likes groups or organised tours of any sort.

Now, suddenly, none of the things we’ve always enjoyed is quite right. I was prepared, however to try the UK self catering break once more because I’m trying to accede to any wish MLO expresses. Loss of interest in activities and hobbies is part of the disease and it’s an increasingly evident symptom so I was delighted when he said firmly that he’d like to revisit Cragside which has long been our favourite National Trust property.  Pity, then, that it’s in Northumberland, and we live in South London but I decided it was do-able and booked the accommodation near Hexham.

The journey up was a nightmare. Including a very welcome two hour break with a dear friend near Northallerton who provided lunch, respite and a bit of sanity, it took 11 hours – traffic hold up after hold up. Moreover, taking MLO anywhere is exactly like taking a rather tiresome child out. He needs frequent loo stops and lavatories in service stations are never situated for the convenience of customers. I reckon – and I’ve timed it – that by the time you leave the motorway, drive round a roundabout or two, get parked and traipse across the car park and through the building it’s a minimum of 20 minutes. I try not to get exasperated (and yes, since I bet you’re wondering, we do keep an emergency receptacle in the car) but I frequently fail. Fortunately the drive home a week later was free of hold-ups, much easier and quicker.

The accommodation – nicely done up with splendid views down the valley – was all on one level but because this is hilly Northumberland it was on a quasi-terrace with steps up to the door and the new MLO makes very heavy weather of steps. This is, I’ve learned, a recognised Alzheimer’s symptom called “visuospatial difficulty” on one website I consulted.  It meant I had to do all the loading of cases, boxes and so on in and out of the car (I used to have a bit of back trouble but it seems to have gone away –  a case of finding strength when you need it?) as well as leading him by the hand up and down the steps every time we went in or out.

The Cragside day was great. For a start, and I think this was my fifth visit, it was the first time either of us had been there in sunshine. We both gasped at the house and its contents in delight as usual and marvelled at the astonishing views down the slope from the windows. Then we tried to walk round the nearer grounds. The place lives up to its name and the descent to Debbon Burn, the river hundreds of feet below the house, is via rough steps formed of big flat boulders. MLO took one look and decided, wisely, that he could no longer manage those. In the end – well done, National Trust – we found a cindered path intended for wheel chairs (new, I think, since our last visit) which enabled us to get down the iron bridge across the burn. We also walked through the pinetum which has conifers as tall as the redwoods we’ve seen in the US – they grow from the burn-side almost to level with the top of the house above. Yes, it really is quite a place and MLO was smiling quite cheerfully for most of the time we were there.

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Often though, on other days, he looked fed up and uninterested. And it’s quite impossible to get him to think about or discuss plans for what we might do. So I say things like: “I thought, tomorrow, if you’re agreeable, we might go south to the Bowes museum ?” or “I think we’ll go into Newcastle by train for the day. OK?” He always agrees because, like an obedient child, he wants to please me but I know jolly well his heart isn’t in it. So we do whatever I’ve decided which usually ends up as little more than quite a lot of slow trudging although occasionally something nice happens such as my spotting a pretty vase in a Corbridge craft shop and his saying (relatively)  brightly “I could get that for your birthday”. Said anniversaire isn’t for another six weeks but he’s clearly fretting about it already which means that the date has yet to fall off his brain’s hard drive. His bank card was produced and I have the vase.

Then there’s the tiredness. By early afternoon, whatever we do – and it isn’t often a lot more than having coffee, a stroll and eating lunch – he’s flagging. Back at base, my routine was to settle down in the late afternoon to do a couple of hours’ work. Try as I might I hadn’t succeeded in clearing the decks completely before the holiday and I had five features to write while we were away. In the times gone by MLO would have objected to that and grumbled at me. Now, I think he’s quite grateful because if I’m busy writing I’m not making any demands on him.  I’d work at the dining table on my tablet with keyboard while he settled on the sofa with The Times on the other side of the room. Within minutes he’d be fast asleep and Ms A would be leering at me gleefully over his shoulder.

It was a pleasant break and generally I’m glad we went although I was relieved to get him home safely because it’s feels like a lot responsibility to shoulder on my own.  He was pleased to be home too – and managed to redeem a bit of self esteem by unloading the car single handedly because it’s all on the flat and I can back right up to the front door.

So what next? Is there anything else MLO would especially like to do? He has mentioned Vienna and a concert in the Musikverein. He has also talked about going back to Washington DC and staying in Georgetown which we both liked. I’m not at all sure about either although I suppose I could book assistance at airports and on flights. Or we could just stay at home. But I worry that if he spends too much time there he will lose even more interest even faster. Decisions, decisions.

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Audition fees for aspirant performers seeking vocational training are in the news. Good.  Shadow Culture Secretary, Tim Watson, has read his own party’s 2017 report  Acting Up, which declared that the performing arts industries are “increasingly dominated by a narrow set of people from well-off backgrounds”  and written to leading drama schools asking them to consider dropping audition fees completely.

Well it was about time somebody did. Over the years I have penned many articles about the scandal and immorality of audition fees but that isn’t going to stop me doing so again – and again and again if that’s what it takes to get them abolished.

Just consider the figures. Good drama schools routinely attract thousands of  applicants. Each one pays a fee to be “seen” and, of course, the vast majority are rejected immediately.

Suppose 2000 people apply to the (hypothetical but highly renowned) Thames School of Drama. If the school is good it would be more than that but for the sake of argument let’s plump for a round figure. Now let’s presume that the audition fee is £50 (and in many schools it’s a lot more). That’s a total of £100,000.

Well, I know that many schools subcontract some of the first round auditions so there are a few freelance day rates to pay. They also have to heat and light the room and get the lavatories cleaned. I doubt that any of that costs anywhere near even £10,000 so that’s £90,000  profit to TSD.

How can they possibly justify exploiting students in this way? Many youngsters want, if they can afford it, to audition for several schools and travel expenses are often an issue too. It would be quite easy to spend £1000 auditioning and many school leavers or recent leavers just can’t afford that. So why is anyone surprised that there are still too few performing arts people from less well off backgrounds training in and graduating from vocational courses?

There are other ways in which the whole auditioning system is morally bankrupt in many schools too. Take the practice of auditioning literally hundreds in a single day – with numbers on their backs like tupped ewes in a field because no one can be bothered to learn their names. I have seen this process in action in more than one school when I happened to be on the premises about something else

If you’ve paid, say £50, I reckon you deserve more than three minutes before casual dismissal too. The best organisations keep applicants there for several hours and give them workshops and opportunities to find out more about the school – but that is still by no means the norm.

Yes, I know that some drama schools offer “fee waiver” (ie free) auditions to a few talented but needy students referred by trusted youth theatres and other partners but how than they possibly think this is enough? No one from a training organisation has ever attempted to explain to me why there is any need for audition fees at all presumably because there is no tenable argument in its favour – apart from its value as an income stream. They know that – and they know that I know that –  so they just keep quiet and hope I’ll shut up, while they go on putting large sums in the coffers.

Perhaps it’s time I compiled a chart cross referencing audition fees with the salaries of vice chancellors and drama school principals. Another blog maybe…

No one should have to pay for the “privilege” of applying for any sort of course. Charging audition fees is such an exploitative disgrace that I can see no reason why it shouldn’t be made illegal. If this hypocritical industry really wants the equality of opportunity it so often bangs on about then this is a perfect starting point.  Abolish those fees for everyone, everywhere. Now.

There is a common assumption that Alzheimer’s disease – and the dementia which characterises it – is mostly about loss of memory.

In Luke Adamson’s fine play One Last Waltz, the central character Alice eventually admits: “I need to see someone about my memory.”

Our consultant is attached to the “Lewisham Memory Service” as if they could serve us up some extra memory like a phone shop.  If only!  The “Dementia Department” would be a more accurate, if rather less tactful, title.

Everyone you speak to has some experience of Alzheimer’s and it’s nearly always memory loss they want to tell you about.

Yes of course My Loved One has memory problems. I have to tell him simple things such as it’s Tuesday and the cleaner will be here at 10.00am over and over again. He often struggles for words too, starting a sentence only to find the key word has gone AWOL before he gets to it. If we’re seeing people we haven’t seen for a while I have to rehearse names with him carefully in advance.

But memory loss is only a tiny part of what life with Ms Alzheimer’s actually means. Here, in no particular order, are ten other symptoms we’re dealing with daily.

1.MLO is shaky on his feet and tends to shuffle because it feels safer. He walks at about half my speed. This, of course, has the effect of making him look quite elderly and someone almost always leaps to his or her feet to allow him to sit down on trains and buses – an indicator of physical frailty clearly visible to strangers.

2.Keys are a problem. If he tries to let himself in and out of the house he can’t put the key in the slot and turn it. He also has problems with the window locks. The other day he noticed that I’d accidentally left a car window open and wanted to close it. I said “It’s an electronic window you’ll have to turn the engine on” but he couldn’t do that either – and this, bear in mind, is a man who was regularly driving his own car less than a year ago.

3.MLO tires very quickly and is often sleepy. If we go, for example, to a museum or exhibition he flags and needs to sit down for a break in less than an hour. And he nods off over his book after dinner almost every night – now, I know there are plenty of people who do this all their lives but in this case it’s new.

4.He feels the cold in a way he used not too. Like his father, who died in 2014, MLO now wears thick pullovers almost all the time, sports a thick coat and woolly hat to go out and we argue about the window in the bedroom which I want open and he doesn’t.

5.He is very insecure when going down stairs. At home he clings tightly to the banister rail and we have a grab rail at the turn of the staircase. When out, he is very slow, ponderous and careful – especially in busy railway stations where there tends to be loads of steps unnoticed by the rest of us who are untroubled by them.

6.Sense of direction has gone. If, for example, standing outside Victoria station I tell MLO we’re heading north for Buckingham Place towards St James’s Park, a route we’ve walked hundreds of times, I see a blank look because he has no idea what I’m talking about. It’s the same if I come in from somewhere and tell him where I’ve been. He used, until recently, to be able to meet me in pre-arranged places – unthinkable now.

7.Spatial awareness is dwindling fast too. That’s partly why he can’t put things away accurately in the kitchen cupboards – he can’t visualise the space inside. It’s also why he says with a shudder “I wouldn’t want to do that now” when, for example, I back into a tight parking space.

8.Food tastes have changed – as I described recently.  He now eats, with enjoyment,  lots of foods he used to dislike with passion.

9.MLO’s personality is different now. Thank goodness there is no aggression. Instead we’ve all (sons and I) noticed a new compliance. Most of the time this formerly stubborn, pretty feisty man simply does what we tell him to without argument or protest. And that makes us a bit sad.

10.He can’t do paper work. A professional administrator, he was wont to have every file orderly and up to date. For years, MLO did all the administration for my business Susan Elkin Ltd for example. He was extremely efficient. Today he is beaten by the simplest clerical task and we’ve had to take it almost all away from him – although he did manage to renew the National Trust membership recently. I try to delegate simple discrete tasks to him on the grounds that it’s important that he does what he can.

Memory loss? Yes. And the rest.

 

 

How do we get the word out – really out – about fringe theatre in general and pub theatres in particular? There’s cutting edge work going on all the time at, for example, The Finborough or Theatre 503 which is based in The Latchmere in Battersea.

My observation at many performances is that the audience mostly comprises three groups: very local people who know they’re on to a good thing, industry folk supporting performers and creatives or wanting to see them in action, and friends and relations of the cast The wider public are, usually, absent.

I have, for example, a friend who’s pretty switched on culturally. She goes to a lot of theatre (especially opera), concerts, exhibitions and museums. She also reads newspapers and a lot of books.  When I mentioned the other day that I was going to a show at the Landor that week and another at the Hope the week after I had to explain to her what these venues are. She had, almost incredibly to me, never heard of pub theatres. They had, until I enlightened her, passed completely under her radar. And this is only the most recent of many conversations with different people that I’ve had along these lines.

It means that London’s many dozens of pub theatres, not to mention the sprinkling in other big cities such as Birmingham and Manchester, are missing tricks. I’ve often seen then very sparsely attended.  London Pub Magazine http://www.londonpubtheatres.com is doing its best to raise loads of awareness but we all need to work harder at it.

Of course it isn’t all good. Theatre never is. But I’ve seen some fabulous shows in pub theatres. Charles Court Opera Company’s The Mikado, which I caught at The King’s Head in Islington last week, for instance, was one of the best bits of theatre I’ve seen this year. What a shame that to many people, travelling to Islington from a fair way off just to see “a  little show in a pub” seems not worth making the effort for.

We need to do some public education – the National Theatre and the West End are not the be-all and end-all of theatre. In a decent pub theatre – and there are SO many – you can get a pleasant meal and a pint (or whatever) as well as a show at a fraction of the price you’ll pay in a glitzier venue. At both the Bridge House in Penge and the Brockley Jack in Brockley I have recently arrived having already eaten and ordered just a pot of excellent tea. Yes, pubs really have moved on. Let’s all make the most of them.

There’s something very refreshing about low budget theatre, without fancy sets and costumes, because it forces the focus back to basics. Do the performers convince or move us? You don’t actually need wings and spacious dressing rooms to stage powerful theatre, do you? Surely its words, actions and faces which carry (or not) the show?

Three Little Maids from School. Charles Court Opera’s The Mikado at King’s Head, Islington