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Susan’s Bookshelves: The Group by Mary McCarthy

Group 4I read first read The Group in 1963 not long after it was published. I was a callow, shallow sixteen year old. Word on the street was that this book included explicit sex. There wasn’t too much of it about then (less than three years after the Lady Chatterley’s Lover trial) and we were hungry for it. Rereading it now in the coolness of maturity I notice that yes, there is some sex there, but it’s bluntly matter of fact and not remotely erotic. I doubt I understood the difference in 1963.

Mary McCarthy’s best known novel details the lives of eight women in their twenties. They graduated from Vassar in 1933 and this is what happened next. They’re all bright and ambitious in their different ways but marriage and childbirth proves restricting – in what soon became a seminal feminist novel.

I find the timing fascinating. I’m over thirty years behind the women depicted but I can identify totally with some of their predicaments. Priss’s paediatrician husband wants her to breastfeed their son but she finds it difficult and nobody else – family, friends, nursing staff is committed to it. That was exactly the situation I encountered, at least with medical professionals, when my babies were born in Britain in 1972 and 1976 – except that I’m a lot more bloody minded than Priss is and did it anyway. Interestingly they were told then (as I was in 1972) that you had to stick to a 10.00/2.00/6.00  feeding routine through the 24 hours so that the baby would soon learn to sleep though the night. I’ve wondered for decades how/why it is that my fully breast fed boys slept through at 3 months and modern children seem to go on waking up in the night until they’re at least 2 years old. Perhaps there’s something in the old ways. McCarthy contrasts this with Norrine’s “Bohemian” child-centred approach which is, of course, exactly what young mothers are advised to do now. It certainly set me thinking. But of course, these issues passed me by completely in 1963 when I hadn’t even taken my O levels.

Then there’s Polly who has an affair with Libby’s married publisher boss which clearly isn’t going anywhere. Eventually she settles amiably for a decent doctor – there’s no passion but it’s a workable marriage. Haven’t we all known people like this? McCarthy’s observation is very sharp.

Group 3

The book is structured around Kay – first her short-lived marriage to the rather tiresome, pretentious, wannabe actor/playwright/director Harald – and eventually her funeral aged 29, which neatly brings the whole group back into the same space. Kay, a “blurter” who can’t help saying what she thinks, puts her own career on hold – taking a fairly menial job at Macys – in order to support Harald who never achieves anything much and is serially unfaithful.

Some members of the group remain single and are therefore able to do the work they’ve chosen without reference to anyone else – although parents are quite prominent in this novel too. One goes off to Europe and returns after the outbreak of war with a lesbian partner who is, after initial awkwardness, cheerfully accepted by the rest of the group as any other husband would be. These women, have after all, had a liberal education.

Group 2

One of the most disturbing episodes is Kay’s being committed to a mental hospital by Harald. She is not mentally ill but cannot be discharged without Harald’s permission. That’s chilling. As I often opine, some things have improved – and female equality is one of them on both sides of the Atlantic.

The Group, now 60 years old, speaks of both the 1960s and the 1930s. It has worn very well. It’s funny in places and the writing is needle-sharp. But don’t bother to read it for the explicit sex.

Next week on Susan’s Bookshelves: The Darling Buds of May by HE Bates

Venue: Union Theatre. 229 Union Street, London SE1 0LX

Credits: Book by Ron Cowne and Daniel Lipman. Music & lyrics by George Stiles and Anthony Drewe. Directed by Sasha Regan. Co-produced by The Union Theatre and Sea Productions

Betty Blue Eyes

4 stars

A musical about chiropody and pigs sounds unlikely but sometimes it’s the wackiest things which work best. Based on a 1994 film by Alan Bennett (Maggie Smith and Michael Palin) and then developed as a successful musical by Cameron Mackintosh in 2011 (Sarah Lancashire and Reece Shearsmith), Betty Blue Eyes now sits remarkably well in the bijoux Union Theatre. Somehow it accommodates a talented ensemble cast of nineteen and a three piece band without ever feeling cramped.

We’re in 1947 ( a rather good year for your reviewer but I won’t labour that) when rationing and austerity dominated everyone’s thinking. However, the imminent wedding of Princess Elizabeth to Philip Mountbatten might just cheer everyone up and provide an excuse to party, at least for some. It’s a Yorkshire village with a strong sense of community. That inimitable Bennett-ian Yorkshire insouciance has survived into this production.

Sam Kipling (strong actor), familiar from Sasha Regan’s Gilbert and Sullivan shows, is a peripatetic chiropodist desperately wanting his own premises. There’s a very funny number “Magic Fingers” in which chiropody becomes erotic when he services the feet of four women. Bespectacled, nervous and daunted he can’t cope with the double entendres especially when he gets to the butcher’s sexy wife Mrs Allardyce (Laurel Dougall).

It can’t be easy to follow Maggie Smith and Sarah Lancashire but Amelia Atherton has a commendable crack at making the role of Joyce Chilvers entirely her own. Her character is an aspirant social riser and even just a tilt of her head or rippling of her fingers tells a whole story as she tries, in a faintly Lady Macbeth-ian way to stir Gilbert to action, teach piano or manage her difficult mother (Jayne Ashley, good). She sings beautifully – wistful passion –  and inhabits her character entirely. Atherton is only three years out of drama school. I hope we’ll see a lot more of her very soon.

Meanwhile the whole community is hungry – both for food and normal life. David Pendlebury has fun playing Inspector Wormold, the man from the Ministry of Food who suspects (rightly) that illegal pig farming is going on, as an over-the-top Miss Trunchbull type. And the ghastly local council members led by Stuart Simons as Dr Swaby are good value because they are, of course, cheating for their own benefit. It works particularly well in 2023 because the idea of petti-fogging rules dominating everyday life and being enforced by bossy jobsworths feels very topical. So does the concept of the people who make and enforce the rules, breaking them when it suits them.

The blue-eyed pig puppet is sentimentally appealing and, of course, having been vegetarian for 45 years, I’m as pleased as anyone else when nobody manages to kill it for roast pork and bacon. There’s a lot of feel-good stuff in this up-beat show. Members of the press were each given a bag of fudge (referred to longingly in the show because everything was still tightly rationed in 1947) presumably in the hope that the sugar rush would put us all in a good mood. It worked for me and I’m really glad they didn’t give us pork scratchings.

Stiles and Drewe can always be relied upon to come up with good tunes and ear worms and this show is no exception. The out of sight  band, led by MD Aaron Clingham on piano does an excellent job with the score which nips cheerfully along.  Work by Becky Hughes on winds (flute, clarinet, alto & baritone sax) is especially memorable.

 First published by Sardines: https://www.sardinesmagazine.co.uk/review/betty-blue-eyes-5/

 

After I’d been accepted at Bishop Otter College to train as a teacher in 1965, I was sent a general reading list. I suppose the idea was simply to get students reading more widely. Interestingly it went to all students – not just the ones interested taking English as a main course.  Now I’ve always liked reading lists (usually, these days, in the form of book reviews in newspapers etc) because they give me recommendations and nudge me towards things I might not otherwise have discovered. The Bishop Otter list (with hindsight I wonder who compiled it and what the criteria were?) included James Joyce, CP Snow, Gavin Maxwell and Graham Greene among many others. I don’t know what other students did but I steadily worked my way through most of what was on the list over the next three years and beyond.

Thus I came to Graham Greene (1904-1991).  I read all his major titles (vivid memories of giggling over Our Man in Havana in a tent in Greece in 1966). But – apart from one or two short stories such as The Destructors and A Little Place off Edgware Road which often appeared in school anthologies I was teaching with – I have read very little of his work since. So how has The Quiet American  (1955) fared  67 years after it was published and over half a century since I first read it? Surprisingly well, I think.

QA2 (1)

We’re in Vietnam in the early 1950s during the Indo-China wars. The eponymous quiet American is a idealistic man named Alden Pyle who’s a CIA agent. The narrator, Fowler, is a cynical but troubled British journalist. At one level it’s a love (lust? power?) triangle because both men want the same girl, Phuong. Perhaps more importantly it’s a pretty devastating, condemnatory account  of war.

Greene was often accused of writing journalistically as if he shouldn’t but Fowler’s account of the deaths of the women and children after the explosion of the bomb in the square is masterly. So is a bombing sortie he goes on with a French pilot named Trouin:

Down we went again, away from the gnarled and fissured forest towards the river, flattening out over the neglected ricefields, aimed like a bullet at one small sampan on the yellow stream. The cannon gave a single burst of tracer, and the sampan blew apart in a shower of sparks: we didn’t even wait to see our victims struggling to survive, but climbed and headed for home.

Later Trouin tells him that what he hates most is napalm bombing. “You see the forest catching fire. God knows what you would see from the ground. The poor devils are burnt alive, the flames go over them like water. They are wet though with fire”.

Greene (2)

Discussions between Pyle and Fowler, who become close but are never friends, focus on the former’s simplistic views and the latter’s worldly wise languor, enhanced by opium. Their awkward relationship is further complicated by their being attacked when stranded by a car breakdown. Fowler is shot in the leg and Pyle saves his life which alters the dynamic although it isn’t what either of them wants.

The novel, which has been filmed twice, is presented in punctuated flashback. It begins with the death of Pyle who had been planning to marry Phuong. Fowler has to break it to her. It ends with the sort of fairytale ending that Phuong, who isn’t fully developed as a character and always seems a bit distant, reads about in her magazines. But we’re not at all sure it will be “happy ever after” whatever that means in real life.

Greene (1)

One of the most interesting and attractive things about Greene’s writing is the insouciance of his observation. I loved, for instance, “the gun fire travelling like a clock-hand round the horizon”. And this glorious bit stopped me in my tracks:

“Will you have a cup of tea?” “Thank you. I have had three already.” It sounded like a question and answer in a phrase book.

 Next week on Susan’s Bookshelves: The Group by Mary McCarthy

Show: Force of Habit

Society: Barons Court Theatre

Venue: Baron’s Court Theatre. Below the Curtain’s Up Pub, 28a Comeragh Road, London W14 9HR

Credits: By Roz Wyllie. Directed by Leo Bacica. Presented by Kibo Productions

Force of Habit

3 stars

This sixty minute two hander is refreshingly unpretentious and free from “edginess”. It simply explores the pretty conventional dynamics of a fifteen-year relationship which starts with shining eyes but eventually unravels mostly because of miscommunication.

Martha (Mercedes May Lopez) and John (Michael Hajiantonis) are ordinary people to whom nothing strange or unlikely happens. Instead we get strong story telling and I  liked Wyllie’s writing which blends dialogue with thoughts spoken aloud so that all the subtext is explicit and the story is three dimensional. We can clearly see the characters misunderstanding each other.

Lopez is good as the smitten young woman who meets a slightly older married man in a bar. Soon they’re living together and becoming the parents of twins. The play is nothing if not fast paced. Hajiantonis presents a character who is decent and reasonable but increasingly anxious about money despite the well paid job he feels he has to take but which means he’s away several nights each week while his partner back home struggles with worsening alcohol dependency and obesity (she mentions the latter and we have to imagine it).

Force of Habit is sparely staged with just a table. There are a few cardboard boxes nearby which symbolise moving out and/or on. usefully they contain all the other props and costume items the actors need: John’s laptop, bottles of wine, a dress for Lopez and so on.

It’s nicely directed, watchable and – as an expositional investigation of a very commonplace experience –  reasonably entertaining.

First published by Sardines: https://www.sardinesmagazine.co.uk/review/force-of-habit/

Show: Gone Too Far

Society: National Youth Theatre of Great Britain (NYT)

Venue: Theatre Royal Stratford East. Gerry Raffles Square, Theatre Square, London E15 1BN

Credits: Written by Bola Agbaje. Directed by Monique Touko. Co-Produced by Theatre Royal Stratford East and National Youth Theatre

Gone Too Far 3 stars

Photo: Isha Shah


This is the first revival of Bola Agbaje’s play about street life in her native Peckham since its debut at The Royal Court sixteen years ago. And with a cast of young people along with an edgy take on racism and identity, it’s a good fit for the National Youth Theatre’s Rep Company. Moreover, this is one of four “global majority” texts now set for study as a GCSE drama option so there’s growing interest in it from schools – and it was good to see a school party in the audience on the opening night.

Ikudayisi (Dalumuzi Moyo) has recently come from Nigeria to join his mother and his younger brother Yemi (Jerome Scott) who was born in London. The differences between the two of them – and the bonding – form the backdrop for the play’s exploration of the reality of Peckham life including the tensions between Africans and West Indians, the relationship with shopkeepers, police, neighbours and, of course, other young people on the estate. It could easily end in tragedy but doesn’t.

Of course the play deals with some very serious issues. Racist abuse is hurled about and lots of unsayable things are said – cue for wincing, sighs and gasps from the audience. It’s certainly powerful – and pretty insightful for those of us who haven’t personally experienced an environment like this or needed to worry much about our identity and where we belong.

It is also very funny indeed. So funny, in fact, that an audience rich in friends and enthusiastic supporters in celebratory mood laughed so long and loud on opening night that even from Row F I missed some of the dialogue. Moyo, whose character hides his vulnerablity behind fake accents and over-the-top Nigerian posturing, is a very accomplished, nuanced comic actor and definitely one to watch. Scott meanwhile gives us an impressively reasonable, articulate, exasperated Yemi. And the scene when they fight towards the end and are broken up by overbearing, patronising, abusive police officers, who completely misread the situation, is very telling.

Jessica Enemokwu is strong as the boys’ mother – using a fabulously stereotypical Nigerian accent and mannerisms but dropping it hilariously when she answers her phone. Hannah Zoe Ankrah is pleasing as the calm, refined, always reasonable Paris.

This production feels, however, spun out. It was advertised in the press release as ninety minutes straight through. In the event we get a twenty-minute interval and it runs until nearly 10.00pm. I suspect that various devised mini-scenes have been worked in order to give every member of the twenty-strong ensemble something to do. There is, for example, an entertaining couple of minutes with a lithely cavorting prostitute in the red light district. It’s quite fun but adds nothing to the narrative which loses impetus because it’s broken in the middle. Even the street entertainer singing down stage at the end of the interval feels like a bolt-on.

 

First published by Sardines: https://www.sardinesmagazine.co.uk/review/gone-too-far/

 

About 25 years ago, I hooked up with some teachers in Singapore who also ran a publishing company. At this distance I simply can’t remember how it came about.  They wanted a study text written at about age 11-13 level relating to a young adult novel called Rice Without Rain by Minfong Ho (1986) whose work was then new to me but was widely taught in Singapore.

I came up with the idea of using my study guide as a way of gently educating the student in “lit crit” technique or topic by applying a concept such as narrative point of view, symbolism, diction and the like to each of the fifteen chapters. I wrote a similar one on The Pearl by John Steinbeck. I still think it’s a good idea. If any publishers out there would like me to do more you know where I am. Read the book, study my guide and you’ll have a “toolkit” you can use to study any other novel.

RiceWithout

Anyway,  Minfong Ho was born in Myanmar (then Burma) in 1951, grew up in Bangkok and now lives in America. Like Rice Without Rain most of her books focus on poverty in South East Asia.

Rice Without Rain is set in Thailand during the student riots of the 1970s and it’s warmly readable. Jinda lives in a remote village, where drought has – again – ruined the rice harvest on which everyone depends. Because the villages don’t own their land they are required to give fifty per cent of their harvest to the landlord as rent. That is the situation when some well-meaning students from Bangkok arrive and sow disquiet by suggesting that a much lower percentage would be fairer. Meanwhile Jinda’s older sister Dao (effectively abandoned by her husband) has a baby, Oi, who is dying of malnutrition.

It’s a well plotted tale with lots of strands. Jinda’s widowed father, Inthorn the village chief, is badly injured in a farming accident and is, later, arrested. Dao and Jinda are both healthy young women. Dao gets into a toxic relationship with the man who represents the landlord and Jinda is gradually forming an attachment to one of the students. The strong, feisty grandmother is a lovely bit of characterisation. So is her little brother, Pinit. There is a lot of tension between the old ways and the new – symbolised by, for instance, the different approaches to treating Inthorn’s damaged hand. Jinda’s stay in Bangkok highlights this in other ways and we get a first hand account of the riots.

I was surprised when I first read it and still am now, that Minfong Ho’s work (The Clay Marble is a good read too) has never caught on much in Britain and particularly in British schools. It is after all an “other cultures” novel and curriculum devisers have been keenly including these for a long time now. And yet the copy I have is published (1989) in the Hienmann New Windmills Series –  erstwhile backbone of English department stock cupboards in British secondary schools – so there must have been an expectation that it would be used, read and taught.

I enjoyed rereading this quite gritty novel very much – not least for its forward looking ending which focuses on new beginnings, fresh life and future possibilities rather than anything slushily traditional.

I have some copies of my study guide if anyone wants one – £5 plus p&p. Contact me.

Next week on Susan’s Bookshelves: The Quiet American by Graham Greene

Show: The Tempest

Society: London (professional shows)

Venue: Shakespeare’s Globe. 21 New Globe Walk, London, SE1 9DT

Credits: William Shakespeare. Directed by Diane Page

The Tempest

4 stars


This glitzily colourful, faintly futuristic take on The Tempest runs ninety minutes without interval – with plenty of clear verse speaking and space for Shakespeare’s lines to work their magic. “We are the stuff as dreams are made on” and most of the young audience members near me were totally swallowed up by those dreams.

We start with a rather good, low budget storm with loud wailing saxophone and drum from the gallery while Ariel (Charlie Champion) twirls her 180 degree wings and the rest of the cast of ten fall and stumble as they fight for their lives at sea.

David Hartley then gives us an authoritative but quietly understated Prospero. Bea Svistunenko (who doubles as Trinculo) is pleasing as Miranda and funny in her first encounter with Ferdinand (Azan Ahmed) and later his fellow travellers. Emma Manton is strong as Alonso who believes her son drowned and finds the right bearing for a modern, trouser-suited queen. I don’t quite understand why Archie Rush’s Caliban is dressed in a shiny red puffer jacket and sparkly quasi-bathing hat although he – the enslaved and abused indigenous inhabitant of the island – seems a lot more human and poignant than usual which is both appropriate and topical.

On the whole this is, then, a perfectly decent 3-star show. It’s the stonkingly good integral signing which gets it the fourth star. Clare Edwards and William Grint are woven into the action – standing beside characters and communicating words, feelings and plot. Both fine actors themselves, they interact with the cast sometimes becoming a sort of alter-ago for the character they are signing with at any given moment. They should, in my view, have been credited in large print alongside the actors in the programme not tucked away in the middle of a page about creatives – although they appear in only two performances in the run. I was delighted to have caught this particular one.

This production of The Tempest is the seventeenth in the Playing Shakespeare With Deutsche Bank series, a project which has been in place since 2007. It allows groups from state schools in London and Birmingham to see a Shakespeare play free of charge. 293,277 students have so far benefited from this experience. Yes – despite the (justified) doom, gloom and handwringing – there are still some excellent things happening in this industry.

 

First published by Sardines: https://www.sardinesmagazine.co.uk/review/the-tempest-13/

 

Show: Hamlet

Society: National Theatre (professional)

Venue: Dorfman Theatre, National Theatre,London SE1 9PX

Credits: by William Shakespeare, reimagined for young audiences by Jude Christian

Hamlet

3 stars

Adam Clifford as Polonius and Simeon Desvignes as Hamlet in Hamlet for younger audiences at the National Theatre 2023. Photo: Harry Elletson


Although it’s my job to tell you my reactions to this 65-minute Hamlet (see below), the truth is that is really doesn’t  matter what I thought. The important thing is that it engaged hundreds of Key Stage 2 and 3 schoolchildren at the performance I saw – they oohed, aahed, gasped, listened attentively, joined in when asked to and sighed sadly at the end. And that’s a moving and encouraging thing to be present at. I’m sure the cast were delighted too.

This is a revival, now directed by Ellie Hurt, of Tinuke Craig’s 2022 production which I saw and reviewed last year. And there’s a lot about it to admire. The story telling is as clear as it could possibly be and the framing device is neat – starting with the cast of eight at Old Hamlet’s funeral singing a lament and ending with a similar scene with everyone with white nets over their heads singing mournfully at the end.

There’s a lot of Shakespeare’s text, spoken intelligently and pared down for accessibility seamlessly interspersed with inserts. I liked the idea of the initial funeral wake morphing into a riotous wedding party which is then dispersed to accommodate Hamlet (Simeon Desvignes – pleasing work) with “How weary, stale” to establish his inner turmoil. The antic disposition is made very clear as pretence and the presentation of the Murder of Gonzago is simple but ingenious. I like the idea of dressing Claudius and Gertrude in matching emerald green to make them stand out. And Annabelle Terry as Laertes is totally convincing – love between sisters works well here.

There are some imaginative scenic devices too. Hamlet with Rosencrantz and Guildenstern sit on a blue tarpaulin, rowing and singing a muscular sea shanty. The same tarp, a few moments later is the river Ophelia drowns in and then her grave.

On the other hand, I think there is too much popularising in this production. Characters dance, make comedy and there are several passages of quite loud modern melody. It’s certainly entertaining but in places it goes against the grain of the play. Nonetheless this is supposed to an introduction to Shakespeare and I’m certainly in favour of anything which grabs a young audience as clearly as this does.