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The Girl in the Green Room (Susan Elkin reviews)

The Girl in the Green Room

Written and directed by Luke Adamson

A Bridge House Theatre production at Jack Studio

 Star rating: 3

It’s a one man (Joseph Lindhoe) 60 minute play with a bit of off-stage voicing from Laura White. Lindhoe’s nameless character describes and relives a 1910 visit to a dark candlelit bookshop for shelter in very heavy rain. Therein he meets his own past in the form of young woman, now dead, who’s looking for vengeance. Actually I think we’re supposed to infer that he fell asleep in the “reading nook”.

Lindhoe is an accomplished actor who builds in a wide range of moods so the piece feels pretty dynamic. Several times his character is taken by surprise – and so is the audience.

The play puports to be inspired by Walter de la Mare. I also detected whiffs of Edgar Allen Poe, MR James, Wilkie Collins and Dickens. Adamson’s text keeps the language slightly formal (words like “aforementioned”, “to lie with” in the biblical sense and “livid” meaning lively) to remind us that this is 114 years ago when speech modes were different. But there are inconsistencies such as “train station”, “okay” and “ink pen” which I found jarring.

One of the best things about this show is the sound track which Adamson designed himself. It’s continual, disturbing and adds greatly to the spooky atmosphere. Sometimes it’s drumming rain with claps of thunder. Mostly it’s sinister sounds like breathing, sometimes quite loud, and knocking with wails and gasps – really quite an aural tour de force.

This production is part of a new collaboration between Bridge House Theatre, Penge and Jack Studio, Brockey which is an excellent development. It makes perfect sense for two fringe theatres in neighbouring suburbs to work together for the benefit of both venues and their audiences

I’ve been reviewing for The School Librarian, a quarterly magazine published by the School Library Association, for over 30 years. It’s voluntary work which I do because, obviously, I’m passionate about school libraries and encouraging reading. Moreover, they sometimes send me some interesting titles. And that’s how Big Lies: from Socrates to Social Media reached me. It was published in 2022 so I’m not sure why now, but any time is  a good time for this book because it’s one of the most interesting and informative  non-fiction titles I’ve read in a long time. I think it’s aimed at teenagers but you hardly notice that. It’s serious, over 300 pages long and there’s no dumbing down of language or attempt to be “matey”.  I’ve been out of my teens for longer than I care to reveal here but I learned a great deal from Mark Kurlanksy’s fine book.

Propoganda, misinformation, half-truths, rumour, myth, fake news, hoax – has there ever been a time when it’s more important to filter it all from the truth? And truth, by the way is an absolute. Something is either true or it isn’t. There is no truck in this book with woolly new age waffle about “your truth” and “my truth”.  Big public lies are thrown at us constantly from the link between autism and measles (there isn’t one)  to doctored photographs emanating from war zones and the outlandish pronouncements of Donald Trump.

And this is an interesting one. We’ve all read accounts of German atrocities in Belgium in the First World War. It was what Kurlansky calls an “old trick”. He compares it with spreading the lie in 1588 that the Spanish Armada was carrying instruments of torture to use on the English.  In 1914 the public needed to be persuaded that, as Kipling expressed it “There are only two divisions in the world today, human beings and Germans”. So unsubstantiated stories appeared in newspapers about, for example, dismembered Belgian babies. And in 1915 a British commission led by the very respected Viscount James Bryce “proved” that it was all true on a large scale without naming any families, children or locations.  When the report was re-examined after the war no basis could be found for any of these “well-established cases” and it was all discredited. Then Kurlansky, chillingly gives us this and I’ll quote it verbatim:

“The great tragedy was that in World War II the Germans really did abuse women and children, murder millions of civilians, make lampshades and soap from humans, conduct horrifying medical experiments, and commit many other atrocities, but there was a reluctance to report on this for fear of sounding as questionable as the Bryce report.”

Mark Kurlansky  debunks hundreds of lies, current and historical while also examining how lying works. Science and religion, he suggests, seek answers to the same questions. The difference is that science uses evidence. Nonetheless, accept nothing at face value. Who conducted the research, who funded it and how big was the sample? Posing a hypothesis is completely different from setting out to prove an idea in a biased way. Google is not the be-all and end-all of a rigorous search for the truth.

Kurlansky is strong on the Enlightenment which is often discussed as an 18th century shift in thinking but which is still with us. There are  people in the 2020s, he argues, who continue to reject the Enlightenment –  in American states which persist in teaching Creationism for example.

He discusses in detail the 17th century witch hunts in Europe and then in Massachusetts.  Of course these were based on lies because we all know there is no such thing as a witch except that “Tourist attractions in both Salem and Zugarranurdi [Basque village in Spain]  suggest that there really were witches there, which just shows how hard it is to kill a lie.”

And there’s a lovely story about Arthur Conan Doyle’s (pretty peculiar) belief in fairies and how he was duped by a photograph which Elsie Wright admitted in 1982 she had faked with cardboard cut outs as a hoax/joke against her own family. It wasn’t supposed to go “viral”. Yes, cameras can lie and always could – witness photographs from Soviet Russia from which people were simply excised.

“Viral” brings us neatly to social media which, Kurlansky argues has made lying and the spread of false information easier than anyone could have imagined, even 20 years ago – although radio was doing a pretty good job before that. Of course, it’s why Donald Trump took “his truth” (lies) to Twitter so enthusiastically. And it’s why everything  on these platforms should be read warily. Is this a person or a bot? Vested interests, advertisers. politicians, cranks and, despite the so-called controls, even hate-inspirers and terrorists are all there.

I was amused, though, to catch Kurlansky out in lie, himself – presumably an unintentional one. On page 178 he refers to “…Oliver Cromwell, who executed Charles I,  …” Sorry, Mark. Cromwell was on of 59 signatures on Charles 1’s death warrant which is still in the possession of UK Government. And of course he didn’t personally wield the axe on 30 Jan 1649 which is the other way you could take that clause.

Because Kurlansky is American, so are many of his examples but that doesn’t matter. I think this is a perceptive and penetrating   book which everyone, everywhere should read.

Next week on Susan’s Bookshelves: Goodnight Mister Tom by Michelle Magorian

Burden of Proof

By Ian Dixon Potter

Directed by Pheobe White

Golden Age Theatre Company

White Bear Theatre

Star rating: 4

Last year Andrew Malkinson’s 2003 rape charge was finally quashed because DNA evidence, which could have been checked years earlier, was matched to another man. He had served 19 years in prison. The enquiry into the mismanagement of this case is ongoing. I’m pretty sure Mr Malkinson’s experience was the inspiration for Ian Dixon Potter’s hard hitting play although, of course, the Malkinson case was, and is, far from unique.

We meet DS Dunderdale (Neil Summerville)  who talks a lot to the audience. He is determined to get Joshua Wade (John Lutula) convicted for the murder of two teenage boys. So convinced is he of Wade’s guilt – racism and Islamophobia are part of the reason – that he is prepared to cut corners to achieve the outcome he wants which includes a promotion for himself.  Of course, after a rather good trial scene Wade is found guilty by a majority verdict but – shift forward a decade or two and the truth emerges. Yes, of course, there was DNA evidence which cleared him and identified a different man as the killer.

Summerville gives an outstanding performance. He nails the dogged, blinkered prejudice of a certain sort of policeman perfectly, complete with the slightly whiny voice. At one point he’s off duty with a glass of wine – clearly not the first – and he does slight drunkenness very well too. It’s alarmingly convincing and the thought that a man like this can have so much unchecked power and be so manipulative is very disturbing.

Lutula makes Wade very believable too, answering questions in interview with nonchalant, impatient cockiness because he knows he’s innocent. He’s also more intelligent than Dunderdale. Then at the very end we see him bespectabled and older giving a moving press conference. He’s a talented actor.

Of the other four actors in the support cast, Keiron Riddell is particularly strong. He multi-roles as a Geordie prison lag willing to lie for privileges, an outraged father of one of the murdered boys and a Scottish prosecuting barrister. I particularly admired his voice work.

This is a word-dependent play. The set comprises little more than a table and three or four metal chairs as we move from interview room to court or from someone’s sitting room to Dunderdale’s office. There are no gimmicks. It’s just compelling stuff which forces you to listen in horror. Have we really reached the point when it’s perceived to be better to deprive an innocent person of years of his or her life than that the authorities be held in disrepute? I hope not but …

Good Vibes Music Academy Showcase

Corn Exchange, Newbury

20 May 2024

Good Vibes Music Academy provides music tuition and support in the Newbury area for students of all ages. This showcase, part of the Newbury Spring Festival was curated by Good Vibes but, as its CEO Steve Christmas told the audience,  featured only two groups with which GV has direct involvement. The rest simply reflect musical activity in the area and there seems to be a great deal going on in Newbury.

Notwithstanding the presence of some adult groups it it felt like a miniature version of the Music for Youth Proms (formerly known as Schools Proms) with well known local man, Chris Boulton doing the compère job that Richard Stilgoe used to do. And given the “cast” of this show, it’s hardly surprising that Newbury Corn Exchange was filled to the gunwales with proud, excited parents, siblings and grandparents.

It’s always a treat to see young people achieving things. Saint Bart’s Senior Band – wind and percussion with a few strings are outstanding. Their take on The Lady is a Tramp, complete with a fabulous saxophone solo had me on the edge of my seat. So did Burghclere School Brass band (it’s a primary school!) who played with support from Watership Brass Band. What an experience for these very young children to work with experienced adults. They all looked wonderfully confident. I have never seen anyone of such small stature play such a large trombone as the young girl in this group.

NOMADS, the local community musical theatre company contributed three numbers from different shows. I have no names but the woman who sang The Wizard and I from Wicked is seriously talented. Soul Reason is an adult choir formed online during Lockdown and their opening number (they did three Beatles songs) was sung unaccompanied with beautifully tuned harmony.

After doing two songs with admirable precision, two combined choirs from St Gabriel’s School provided the backing for Sweet Child of Mine and Good Vibrations played by the Good Vibes House Band (fine guitar work) with two young solo girl singers. The harmonic effects at the end of the second number were nicely done.

All in all, then a pretty uplifting evening although goodness knows why some backstage person decided to smother it all in dry ice “stage smoke” effects which added nothing. Moreover I wish the music choices had been broader. Chris Boulton used the word “eclectic” so many  times that I wanted to offer him a thesaurus but actually it wasn’t. Yes, the range of participants was pleasingly diverse (the evening began with big Year 3-6 choir from John Rankin School) but the music choices were anything but eclectic. It was almost all post-1960 popular music. Surely there was scope a bit of folk, trad jazz, classical etc somewhere in the programme to widen the mix? Education – and that includes music – is about opening doors: introducing learners to things they probably wouldn’t discover on their own.

Misha Kaploukhii: piano recital

Corn exchange, Newbury

20 May 2024

Part of the Newbury Spring Festival, this Corn Exchange recital was part of the prize for the winner  of the Sheepdrove Piano Competition so nobody knew until the previous day who it was going to be. In the event it was Misha Kaploukhii.  He is 22, from Russia and studying at Royal College of Music. Very talented indeed, he already has a number of prizes and scholarships under his belt.

It was well chosen programme ranging from the richly romantic Chopin to the modernity of Messiaen taking in a bit of operetta along the way.

Well, obviously we can take outstanding technical skill for granted at this level. What distinguished this performance was delicacy of colour in the interpretation. He began with two substantial works:  Chopin’s F Minor Fantasy, Op 49 and Medtner’s Sonata in G minor, Op 22 which took us though a wide range of moods. The delicacy of the ascending runs combined with the lovely left hand weight in the opening section of the Chopin was particularly striking.

Then, played as pair almost without break, we got two Chopin Mazurkas. He did them with plenty of elegance and dance, tempered with a lot of rubato. And so, as a mood changer,  to Grodowsky’s Symphonic Metamorphosis on Die Fledermaus, which is as witty as it is technically demanding. Kaploukhii clearly knows how the deliver the lilt of a Viennese waltz when it’s required.

The concert ended with Listz’s Bagatelle sans tonalite. followed immediately by Messiaen’s Regards XV. La Baiser de L’Enfant Jesus, a pairing which is in effect a musical joke. Listz has fun with discords, impeccably played with delicate charm by Kaploukhii, but this piece is certainly not atonal in the sense that the term was later understood. The Messiaen (for some reason they dimmed the lights at this moment) is mysterious and unsettling with bell-like chord sequences which Kaploukhii made sound very beautiful. He lingered lovingly (daringly?) over the unresolved final chord, letting its harmonics ring out for a much longer time than usual. Fortunately the good folk of Newbury are very well behaved and educated and nobody interrupted with premature applause.

Maidstone Symphony Orchestra

Mote Hall, Maidstone

18 May 2024

It was rather a treat to have, as concert opener, a piece written by an MSO member. Philip Le Bas is principal bassoon and his Yuki-Onna is an imaginative response to an enigmatic Japanese folk tale. Descending scales which escalate texturally lead to lots of crunch brass chords in the first section and I liked the orchestration which included snare drum, two harps and xylophone. Furrowed brows, though, indicated some anxious counting and suggested that this is a pretty challenging piece to play.

Jonathan Leibovitz – with his exceptionally long slim fingers –  is an engaging soloist to watch and it’s good to hear Mozart’s clarinet concerto played on a basset clarinet so that we heard all those delicious low notes as Mozart intended. Leibovitz brought sunny lightness and colourful phrasing to a very familiar work thereby making it feel unexpectedly fresh. The adagio showed star quality in the delivery of one of Mozart’s most mellifluous melodies and he delivered the finale with mercurial charm.

There was no encore because the second half of the concert began with second piece for solo clarinet and orchestra: Debussy’s Première Rhapsodie. The orchestral part is demanding because there’s so little to hang on to but of course Leibovitz’s playing was creamily beautiful. He’s definitely one to watch.

Bartok’s Concerto for Orchestra (1944) is an ambitious work of many mood changes delivered here with enthusiastic competence and commitment – although everyone looked tired at the end. The brass section was particular striking in the first movement and there was lovely playing from the woodwind (especially bassoon) in the second. Because it has five movements loosely organised like a palindrome, the concerto ends more or less where it began with some fine string work along the way, particularly from the violas, in the penultimate movement and in the fiendish fugue at the end.

All in all it was an interestingly and enjoyably programmed concert with which to end the season, and I won’t be the only audience member already to be looking forward eagerly to 12 October.

 

 

The Tailor of Inverness

Written and peformed by Matthew Zajac

Dogstar Theatre

Finborough Theatre

Star rating 4

I’m not surprised that this powerful, entertaining one-hander won awards in Edinburgh when it launched there in 2008. Since then it has toured many times nationally and internationally to much acclaim. This is its London debut.

It tells the story of a Pole who was forced to leave his homeland in 1939, fought for both Germany and Russia and travelled almost all round the Mediterranean and middle east in a huge loop. After the war he arrived in England and – eventually – became a tailor in Inverness with a wife and children. It’s a strong account of displacement, tragedy and idenitity but ultimately finding some semblance of “normal” life.

As you watch Zajac – a talented actor – re-enact all this (surrounded with clothes on hangers and tailor’s dummies which become puppeted characters) you gradually recognise that this is a true story. The playwright is writing about his own family.

The projected maps, across which travel lines snake, are helpful. Most of us can’t quite visualise exactly where all these places are in relation to each other. The town in Galicia for example, that the family came from was close to the Ukrainian border and “relocated” there when the border moved after the Yalta conference in 1945.

The family trees are helpful too because you have to concentrate quite hard to keep track of who’s who as he moves down the generations. We also get photographs of these people so that suddenly they’re very real. Of course, there’s fear and violence along the way – with  evocative support from Kai Fischer’s lighting and Timothy Brinkhurst’s sound – and Kajac is good at mood change.

Sidestage is seated violinist, Jonny Hardie (alternating with Amy Geddes and Magdalena Kaleta at other performances). He provides folksy music in Polish or Scottish mood, punctuating the narrative, sometimes high and aggressive and at other moments tuneful and lyrical. Kajac sings occasional folk songs in Polish (words translated on the back screen) and he and Hardie are remarkably adept at getting into the same key without apparent effort.

It’s a poignant piece, especially given the present situation in Ukraine. And it’s rather beautifully done.

Matthew Kajak has written a book, also entitled The Tailor of Inverness which is available in paperback from Amazon and other bookshops.

Roderick Williams –  Cusp (world premiere); text by Rommi Smith
Edward Elgar  – The Dream of Gerontius; text by Cardinal John Henry Newman
Jennifer Johnstone (Mezzo soprano)
Daniel Norman (Tenor)
Roderick Williams (Baritone)
The Bach Choir
The Philharmonia Orchestra
David Hill

A near capacity crowd filled The Royal Festival Hall for a pairing of old and new. Roderick
Williams’s Cusp is conceived as a curtain-raiser for Elgar’s oratorio and takes death as its
main theme, though this time of a young person, rather than old. It is a loosely cyclical work
invoking the seasons to weave together a narrative, incorporating recordings of hospital
sounds at its opening, the pinging of machines later being passed skilfully round the
orchestra often underpinned by vast string chords. Later on the tone gives way to
asymmetric rhythmic passages interspersed with intense lyricism, whilst Roderick Williams –
soloist as well as composer here – has occasional, precise punctuations of sung text.
Rommi Smith’s intelligently worked text, based on sources ranging from interviews with
Bach Choir members and their experiences of death, through to Shakespeare and Dylan
Thomas helps make this an entirely relatable work: the explored emotions are common to
everyone.

David Hill chose to segue this immediately into the Prelude, delivered with great poise and
delicacy, even in the fortissimo passages. I particularly noticed the upper strings sul G
moments and the effortless rich tone they produced. Daniel Norman’s Gerontius was a masterful
performance, wringing in turn every ounce of angst, anger, peace and tranquillity from the
immensely challenging score. Roderick Williams’s Priest was delivered with bravura, whilst
the final ascent through D major at the end of Part I was as finessed as I have ever heard it.
Jennifer Johnstone gave us a warm, lyrical Angel in Part II, beautifully guiding Gerontius
through his journey after death whilst the Bach Choir – heavenly in Part I’s Kyrie Eleison –
crackled and fizzed with irreverent relish in the fiendishly difficult fugue-type sequence as
Demons in Part II.

Under David Hill’s baton, this masterful performance was everything The Dream should be:
at times music that pushed you into the back of your seat, whilst at others music that kept
you on the edge of it.