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Blunt honesty pays off

When My Loved One was finally given his devastating, condemnatory diagnosis 11 months ago, I had great difficulty holding on for the rest of the consultation. Kind and helpful though the doctor was, the dreadful words “My husband has Alzheimer’s” kept rattling round my head and my face wouldn’t behave itself. It was only my trusty old friend “Professional Mode” which kept me speaking articulately for a further 20 minutes or so although I’ve no idea what I said.

When we eventually got out of that room we staggered over the road, literally holding each other up, to a coffee shop where I let go. I cried and cried and cried – which probably didn’t help MLO very much. He, after all, had just been struck with a metaphorical sledgehammer and told that he must surrender his driving licence immediately. In that first hour I think he was in such shock that he didn’t really take in the whole truth and it was a case of his comforting me rather than the other way round.

Well, somehow we got numbly through the rest of that day. I had the presence of mind to inform close family:  our sons, my sister and my dearest friend, who’s effectively another sister. All four of them came back immediately with supportive warmth – which, as I’ve said before, is immeasurably sustaining.

Then the next day my habitual practicality began to surface and I found myself thinking: “OK. Ms Alzheimer’s is here to stay. Crying isn’t going to get rid of her so just how are we going to deal with this monster?” My automatic instinct, as a writer, was to get it into words. But of course you can’t write about someone else’s illness – even someone who’s been as close to you as MLO has to me for half a century – without his permission.

“How would you feel about me writing a piece – and then maybe following it up with subsequent pieces – about all this?” I asked him tentatively. He’s always been a pretty private person and I expected him to say no unequivocally. To my astonishment he said. “Ok, why not? You’ll do it very well and perhaps it will help other people. Can I read them as you post them?”

So that’s how these blogs began. Starting on 8 June last year and posting weekly since there are now 35 or so in the archive and a body of about 30,000 words and counting. Perhaps eventually there’ll be a book in this. I know my little offerings really have helped others because several people, in a similar position to us, have told me so and thanked me. The writing has also cemented friendships and, in some cases, created friendships out of former acquaintanceships. Moreover – for reasons I struggle to analyse but it’s a well documented phenomenon – it helps me to cope.  Writing it all down as it really is, is oddly cathartic. I suppose it gives me some sense of being in control. I can’t evict Ms Alzheimer’s but I can write.

There’s more to “going public” than blogging, of course. It’s a whole attitude of mind. Neither of us dissembles with anyone, ever. MLO has learned to say to people when he’s in difficulties:  “Can you help me please? I have Alzheimer’s and I can’t find my way back to where my wife is” (That actually happened last week at the Coliseum where we saw Iolanthe. I shouldn’t have let him go off to the loo alone in an unfamiliar building). Then, inevitably, once the words are said, people are wonderfully helpful.

“Please could my husband have that seat? He has Alzheimer’s and he’s shaky on his feet”, I say to people casually on the Tube. And I order for both of us in restaurants so that waiting staff can see what the problem is – he usually forgets what he’s decided to order by the time he has to say it aloud.

“Sorry, that’s how I am now” he will say to anyone we spend any time with when he loses his way in a sentence.” And he’s learned to be matter-of-fact about the things he can’t do anymore such as the paperwork relating to my business. “I used to be an administrator but now I can’t work out what I have to do” I’ve heard him say several times to people who don’t know him very well. And he’s got used to the oddness of meeting strangers who know quite a lot about him because they’ve read the blogs.

Denial really doesn’t help Ms A’s victim or anyone else. “I think we’ve made a really sensible decision to be open about my problems” MLO remarked the other day, apropos of nothing in particular, in a rare, bright and positive moment. “Once people know, and realise that it’s OK to talk about it, they can react honestly without having to pretend that they haven’t noticed how I am. It’s so much easier for everybody”.

Meanwhile, I’m amused to note, that for a man who’s always tended to introversion, he seems actually to enjoy being the centre of attention. “Have you written anything about me this week?” he’ll ask, childlike and hopeful. And of course when we’re out everyone we meet (and I know hundreds of people in the performing arts world) makes a point of asking him how he is and allowing him to answer with dignity. And that would have been much harder if we hadn’t been truthful.

Everyone in our (unenviable) position has to find his/her own way of dealing with it. We’ve come a long way in eleven months.

Three very different shows I saw last week reminded me, yet again, just what a gloriously diverse industry ours is.

Much Ado About Nothing at The Globe is this year’s Playing Shakespeare with Deutsche Bank play. Directed by Michael Oakley, it’s vibrant and funny. Ben Mansfield as Benedick wriggling round that huge stage on his stomach during the gulling scene is a particular high spot. And poor Hero (Aruhan Galieva) gets to wear the prettiest wedding dress I’ve ever seen on or off stage.

These shows – this is the twelfth year of the project – give free tickets to thousands of secondary school students from London and Birmingham. What I love about them is the freshness of the audience response. They chatter like excited starlings until the play starts and then listen, really listen, with a raptness you rarely experience in theatre anywhere else. They also gasp, laugh, boo and applaud spontaneously. Presumably this is what the groundlings did at the original Elizabethan premiere so it’s heady stuff. No orange peel throwing when Teacher’s watching though.

Next up was TheMTA (it stands for Musical Theatre Academy but like M&S, its branding means that it mostly goes by initials) in their annual revue Something Old Something New at Bernie Grant Arts Centre. What a show that was too. Thirty six students – nineteen graduating second years and seventeen first years – presented twenty seven numbers and wore, between them over 250 costumes.

The standard is extraordinarily high in this little school, founded in 2009 by principal Annemarie Lewis Thomas, which could give the big players such as ArtsEd a run for their money. With choreography by a team of nine professionals, we zinged along from Gershwin and Sondheim to Rodgers and Hammerstein and Styles and Drewe with extracts from shows such as Shrek The Musical and Made in Dagenham along the way. Evidence of talent, good teaching and industry readiness in abundance.

Iolanthe at ENO is, of course, something quite other and G&S is Marmite stuff. For those of us who like the Savoy operas (and Marmite) this production is terrific fun. It makes fine use of the Coliseum’s vast stage with lots of whacky ideas such as making Captain Shaw (Head of London Fire Brigade, present in the audience on the first night back in 1882 and serenaded in Gilbert’s text) into a character and treating us to on-stage farm animals, a dog puppet and much more surrealist, English nonsense. The motley, simpering, randy fairies look like feminist drama students trying to be outrageous and I loved the sets which include creating the House of Lords debating chamber on stage complete with Woolsack. And if some of the singing seems a bit distant and diction not always quite clear well, it doesn’t really detract from the pleasure of the evening. It’s good to see (and hear) G&S done with such imaginative freshness in a way which doesn’t jettison the traditions. We even got a couple of encores –  in the time honoured way.

It was also a week in which I attended and took part in two music rehearsals and went to two classical music concerts – one to review and one just for pleasure and to be supportive of local musicians. It’s all part of the same mix of course: performing arts alive well and working their magic whether it’s a magnificent pro show in a huge space like the Coliseum or a handful of indifferent enthusiasts enjoying themselves in an Ashford church on a wet Monday evening.  The downside of all this is that I’m not in enough to see much TV – but, as “they” say, you can’t have or do it all.

Rejoice with me at the sheer breadth, energy and healthy eclecticism of it all – especially if you’re feeling gloomy about the arts and their future.

 

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.