Cinema relay of Nye from the National Theatre. 10th May 2024

This is a very timely production- to say the least- and a story which needs to be told. Yes it is a little bit slow to start and the play itself could do with a bit of sharpening up and maybe a deeper characterisation for Nye’s wife Jenny Lee would improve it ( Sharon Small who played her quite beautifully would have relished the chance) but having quibbled I need to point out that it is a fine piece of theatre and stays focused firmly on the formation of the NHS. You can’t try to write several plays at once or you lose your way. If I had seen it live I am pretty sure I would have been in tears at the end. Plays of this kind are very difficult to write and so often go wrong but Tim Price’s script never does that. Michael Sheen gives a tour de force of a performance and he will have been thrilled to have the chance to play Nye Bevan. His Nye is forceful, heartfelt, funny, flawed and altogether charming. The other star is the staging by director Rufus Norris which is fast, witty, and inventive. There are some visually spectacular scenes especially when gauze is used to allow the needy who are desperate for health care to join the cast in large numbers. The doctors who opposed the formation of the NHS bitterly to start with are seen as a threatening, almost surreal presence looming large above the small figure of Nye and the whole cast are impeccably drilled throughout. They make the complex business of being in character while making sure that both they and the beds forming the set are in the right place at the right time, doing exactly what each scene needs with out delay or distraction look easy when it certainly isn’t. If you have ever been on stage, asked to do something far simpler than is asked of them, you just sit there in awe of the whole company.

I am so glad that this play reached the Olivier stage of the National Theatre and that Michael Sheen was there to play the lead.

Spring in the Park.

The trees are waking,
stretching out their arms in the pale sun.
A thin gauze of hesitant green spreads
over the shivering branches.
Take heart, Spring is here.

Children chirrup happily
across the play area.
Legs are stretched, arms thrown wide,
coats thrown aside, as they reach out
to find the world afresh.

And everywhere the rich, dark, earthy stench of Spring.
The scent of joy.
The scent of renewal.
The scent of life.

Oh What a Lovely War. Blackeyed Theatre. Stephen Joseph Theatre. 09.03.2024

Oh What a Lovely War is a landmark piece of theatre first produced 60 years ago by Joan Littlewood’s Theatre workshop- a dynamic, innovative company. It is a very special piece, especially for those like me who have a direct connection with the Great War. My grandfather fought in it as a member of the Royal Artillery and I stood alongside veterans of that war when I was growing up at our village war memorial. For those veterans the experience never left them- it defined the rest of their lives. The young company who performed it for Blackeyed Theatre and their production team can be very proud that they did those men, and Joan Littlewood’s original vision justice.

Before the show, and during it, they made a strong connection with the audience and this is at the heart of what made the show work and the ending so devastating. The Stephen Joseph Theatre is small and in the round, perfect for this kind of approach. I think both the performers and the audience relished being there. The show was at home there, it is almost exactly the same size as the Theatre Royal Stratford East where the show began. I have been coming to the SJT for a very long while now and when this happens it is a joy. The show is complicated, built like a finely calibrated watch, so it wasn’t possible to rejig it for the whole round but it really didn’t matter. All six performers, Christopher Arkeston, Tom Crabtree, Harry Curley, Alice B Mayer, Chioma Uma and Euan Wilson,were at full pitch the whole time, changing the colour and mood of a scene in a second, playing and singing, always in the right place at the right time, just……. well perfect basically. It was the best company team work I have seen for years. They picked up award nominations and I’m not a bit surprised. The original show is wonderful material to work with but it will sink you if you don’t get it right.

The costumes by Victoria Gibbs had exactly the right combination of humour and period charm with just a hint of sleaze and Vicky Spearing’s set was a perfect match for them. An Edwardian end of the pier show which never quite existed. A playground for a group of lively, slightly desperate young adults. The direction by Nicky Allpress kept everything moving and well drilled, allowing everybody else’s work to shine which is just as it should be.

Rave reviews are quite hard to write. There are only so many ways that you can point out how great a show was but it had to be done. At the end of the show there was just one brief curtain call. Everybody knew that however much they might have deserved more it wasn’t about them.

Self Raising. Graeye Theatre Company. Stephen Joseph theatre. 21.02.24

Self Raising is a very clever, well thought out small scale show from Graeye theatre company who specialise in making theatre which highlights issues around disability. It makes its points simply and strongly, making sure that the audience are directed towards what they need to notice without any heavy handedness. Jenny Sealey wrote the play along with Mike Kenny and from the first moment she walks on cradling a bag of flour she makes a strong, warm connection with those watching which builds into empathy as her story unfolds. We want to know what is going on. It is the story of her own life, how deafness is received by those around the person with hearing problems and the way secrets within her family unfolded through time as they were kept or revealed. It is a story about resilience and acceptance and it is ultimately life affirming. A lot to ask of a single performer in a single hour, with an interpreter for those in the audience who need sign language, but Jenny Sealey certainly delivers. It has a lot of charm and I enjoyed it very much. It is quite a delicate piece and I won’t say any more than that in case I spoil it for somebody.

Gaia in Beverley Minster. 21:09:23

It’s hard to grasp that it was only in 1972- well within living memory- that people were able to see the Earth as a blue and white sphere floating in space for the first time. People had been gazing up in fascination at the moon for thousands of years but this viewpoint of the world was something new. A viewpoint so new that there is a small number of people who, even now, still don’t believe this simple, incredibly well documented fact. That new viewpoint of our planet has changed the perception of all those who have been privileged to see it in reality with their own eyes and shaped the mindset of all of us, as we have become familiar with the countless images of our home that we see everywhere. The Earth is something fragile and it’s resources are finite, never to be taken for granted. There is something about the ability to see the whole of the planet at once, suspended in darkness, that really brings that home.

Perhaps it was the Christian belief that Jesus died for our sins and that we were given the world by God as a resource for us to use that made the established church slow to wake up to the environmental responsibility that we all bear. However humble Christians are meant to be it’s hard not to feel that this makes humanity particularly special- made in God’s image after all- without understanding that we are inextricably linked to the whole of creation. Seeing Luke Jerram’s touring installation Gaia, a three dimensional Earth seven metres in diameter, suspended in the nave of Beverley Minster, gave me hope that this arrogance may be beginning to change. We are just a small part of a diverse, beautiful and ever changing world and we are destroying what we have around us. Too often the best we can come up with, as we relentlessly provide for our own needs and wants, is damage limitation. This has to stop. It’s not all about us. The resource that seemed endlessly bountiful when there were so few people in the world to plunder it is is now clearly seen to be fragile and limited, now that over eight billion of us are half way through the Earth’s sixth mass extinction and have the ability to see the long view.

A great deal of clever technology has been used to produce what is at heart a simple idea. A single facsimile of the Earth, slowly revolving in space with a gentle, subtle soundtrack (composed by Dan Jones) to give it context. It effortlessly dominates the space, silencing people and bringing them to a halt. Like all good Art installations it looks as though it has always been there. It claims its space, effortlessly dominating the best that medieval faith and craftsmanship could produce. For Christians it is a timely reminder that it was the world God loved at creation, not just people, and for non believers it is a reminder that there is something out there bigger and more important than even the greatest works that humanity has produced and we fail to protect it at our peril.

Washday.

A small battered transistor radio
sits on a rusty water butt,
dusted with a light drizzle, yearning.
Sound pumps out into cool early morning air,

Guantanamera,
Guajira Guantanamera,
Guantanamera.

Steam slips up over a washhouse door,
escaping the warmth of a bubbling copper.
The dolly peg stands ready, soft and pale
from long days of twists and turns.

Yellow bird….. fly high in banana tree.
Yellow bird…. you sit all alone like me.

Grey water swills down the gutter
racing for the open sea.
Strong practised hands reach,
turn and lift in time together,
relishing the old ways.

There’s a tiny house by a tiny stream
where a lovely lass had a lovely dream.

Slowly the lines fill with billowing sheets,
heavy towels, fine cotton shirts, dresses and aprons.
They stretch themselves in the wind,
learning to fly.

The moon stood still on Blueberry Hill
and lingered until my dream came true.

Short story: Nobody likes old people.

Nobody likes old people – old people don’t like old people.  Alan Bennett. (From the play Allelujah.)

The strange thing about getting old is that it happens when you least expect it and it is other people who point it out to you. Of course you realise that there are bits of you that ache and bits of you that don’t work as well as they did, but what really tells you that you are getting old is the look in other people’s eyes. They either give you help that you don’t need (which is fine- one day you will) or they look straight through you. You are just not quite fast enough any more…….. and you are not allowed to talk about it. In fact, worse still, you are expected to pretend it isn’t happening.

Margaret works all this out standing in front of the self service tills at her local supermarket. The assistant with the bright red hair is the worst. Usually she is easy to avoid, thanks to the hair, but sometimes she will turn up out of the blue, wearing her happy to help badge, and just stand there, staring, waiting for Margaret to become confused. Which Margaret invariably does, as soon as she knows that she is being watched. Margaret couldn’t exactly blame the woman– she had done nothing wrong– but it was still the woman’s fault. She watches her few bits of shopping being put into her bag for her with a strong sense of the inevitability of life. She even says thank you. Enough is enough. It is time to wander back home.

As she walks back to her little bungalow, checking off the familiar cracks in the pavement, passing the road sign that had been made crooked by a wayward car years ago and wishing that she had brought her trolley, she tries to remember when her world became so small. It had happened so slowly that it now felt like a surprise. She had become somebody who used to do things. Other people her age boasted all the time about how busy they were and her facebook feed (there so that she could see her grandchild) was full of memes joking about bad backs and creaking knees. Well it wasn’t funny. None of it was funny.

Damn. A blow dried woman in a smart red suit is walking towards her. Righteous Rachel. The one who knocks on the door collecting money during Christian Aid week. She had once tried to talk to Margaret about God. It had been embarrassing.
“Morning Margaret.”
Margaret smile
s.
“Morning
Rachel.”
You really didn’t need to dress yourself up like that for a trip down the road to the shops, but
Rachel did. Always. Her hair never moved. It made Margaret feel shabby.
Is it busy down there?”
“Not really.”
There
is a short silence while Rachel tries to think of something else to say. Margaret wonders whether to walk on.
“Well……
I’d better get moving. Busy Busy. See you later
She wouldn’t of course. Margaret could imagine the kind of being busy she was talking about. There were a group of them bustling in and out of St Peter’s church each time she went past. Flowers, soup, Weight Watchers, toddler groups. Messy church” they called it on the postereven though it was anything but. They were in a world of their own. All of them safe in their own little gated, sacred bubble of niceness.

She sets off again. A group of teenagers bustle by on the other side of the road. They are pushing each other, laughing, making noise just for the sake of it. So much life is spilling out of them that it makes her nervous.

Good morning to you.”
Jack now. Jack
is all right. Jack doesn’t know Margaret’s name, and he has never asked, but he knows her. Margaret knows his name because everybody does. His smile reaches his eyes and he never walks past without making her feel better. He had once told Margaret that her shoelace was undone because he was worried that she might fall over, or “have a fall” as she supposed she ought to call it now. Jack was a good thing. If he had worn a hat he would have raised it to her. She doesn’t mind Jack.

Now Jack.”

Have a nice day.”
He ha
s what might be a Polish accent. That was probably one of the first English phrases he had learned, years ago, and he says it as if he means it.
Yes. Jack is definitely a good thing.

It is always a relief to turn the corner and reach the end of her road. Sometimes this is because she is tired but more often it is just knowing that there is a kettle and a biscuit waiting for her and nobody will be able to try to talk to her while she eats it. There is a little red Kia parked in her drive. She keeps her head up and walks just a bit faster. Lisa! Already! That kettle will have been boiled and Jamie will be waiting to show her his rabbit. Three weeks ago Lisa had insisted on having her own key. She said it was for safety but this was nonsense. Margaret had only allowed it to happen because she wanted to make sure that her daughter could always be there whenever she wanted- with Jamie! Jamie is three and a half years worth of pure joy. A little dynamo fuelled by bananas and milk shake. Her future.

Gamma|”
He
is wearing the dinosaur top that Margaret had bought him. It has ROAR written on it in big red letters and a snarling T Rex. They hold up their hands and roar at each other, showing their teeth. He is the only person who still asks her which is her favourite dinosaur. She sweeps him up into a big hug.

Mummy got the kettle on?”

He nods and wriggles to be put down. They walk through into the little galley kitchen. Lisa has washed up. Margaret shakes her head.
“I was going to do that when I got in.”

Well now you don’t have to. That tap is dripping.”
Yes. I know.”
There was no hugging
Lisa. When Lisa had been small that wasn’t something you did. Well not in rural East Yorkshire anyway. There were no princess dresses back then, no endless photos of “my world” on social media, no coy mentions of “this one” and if you had gone around the village boasting to your friends about your child you’d soon be told to shut up about them. Usually behind your back, granted, but still. Children fitted into your world, they didn’t take it over. They were loved and protected, not spoiled. That still didn’t seem entirely wrong to Margaret but what did she know………… Perhaps they both hugged Jamie so much to make up for what had been lost, a kind of love by proxy. Of course she had always loved Lisa. It just wasn’t something you needed to be told back then.


Lisa is looking serious.
“There’s something I need to talk to you about.”

That is never good. Margaret braces herself.
“You left one of the cooker rings on.”
What Margaret want
s to say is “So?” but she is damned if she is going to behave like a teenager in front of her daughter. She clings onto Jamie’s hand.

Did I? Never mind. No harm done.”
“I’m worried about you.”
“There’s no need.”

I’m just saying.”
“It’s easily done. There was no pan on it.”
This is true. She had put the pan she used to cook her porridge safely in the sink.

I know…….”

A question hangs in the air. Next time it will be asked.

You’ve enough to think about without worrying about me.”

Len had worried about her. For thirty five years of marriage it had driven Margaret to distraction but for a long time, after he was gone, she had missed it. Not so much now. You did forget. That was the worst part of grief.

She goes through into the sitting room and glances at the television. The morning presenters are smiling and laughing into the empty room- why do they need to act as if they are a couple? Jamie runs after her and scrambles up onto the settee. There is no need to tell her what he wants but he does anyway.
“Peppa
Pig! Peppa Pig!”
She sen
ds the two presenters off into outer darkness halfway through an item where a chef who thinks far too much of himself is showing them how to (pointlessly) update a custard tart and finds the right channel. Peppa is going shopping with her family. She is very excited about buying onions. All is well in Peppa Pig’s world. It always is. It must be nice being Peppa Pig. Jamie zones out, eyes wide, thumb in mouth, lost in the bright colours and strange shapes. He knows how many onions Peppa will put in the bag and he is waiting for naughty Daddy Pig to put a chocolate cake in the shopping trolley without Mummy Pig’s permission. He knows that this is not allowed (unless he is with Gamma) because he has tried it. His mother walks in carrying two mugs of tea.

Not Peppa Pig again?”

He likes it.”

So did I the first few times.”

Shall I get someone to come and have a look at that tap?”

For heavens sake leave me alone and stop trying to interfere. I changed your nappies.

If you like.”

OK.”

Lisa is pacified. The pig family have bought the cake.

She might not mention the cooker ring again now.
I want you to go to the doctor and get checked out.”

Here we go.
“What for?”

There is silence.
I’m going to make her say it.

I’m worried about you.”

Why?”

You’ve been forgetting things.”

She is never going to say it but she is thinking it.

Have I? What’s that supposed to mean?”

Yes. You have.”

It was just one cooker ring. Everybody forgets things. You forget things.”

Margaret picks up her coffee mug and holds onto its warmth for comfort. The trouble with children is that all you ever are to them is their mother, and however special that makes you that is never the whole story. Now she is being made into a burden by Lisa’s fear. Of course you might not be able to see the signs in yourself. Lisa might be right. Her own fear begins to rise. If Lisa is right she really doesn’t want to know.

It’s easy to forget awkward moments when there is a three year old in the room. The afternoon is spent keeping Jamie happy. This is easily done. Biscuits, action songs, picture books and a lot more Peppa Pig. By the time Lisa takes him home Margaret is exhausted and very glad that all she has to do is put a pizza in the oven.

Almost an hour later she wakes up on the settee to a smell of burning.


The voice of the sea.

 

This is the kind of day when the North Sea is most itself,

a day when it shakes off its summer shackles,

forgets the indignity of the inflatable toys,

the insult of the half empty plastic bottles,

and the giggles of the trespassing toddlers,

shows its white teeth and roars defiance at intruders.

 

This is the kind of day when the sea remembers who it is,

a day when all colour is bleached from the world

bringing a cold, clinging darkness.

Scornful blasts of spume splutter up from the depths,

shouting for recognition, demanding respect.

Stay back small bundles of frailty. I am immortal.

Constellations. Stephen Joseph Theatre. 3-11-22

© Tony Bartholomew/Turnstone Media – 07802 400651 /info@turnstonemedia.co.uk
25-10-2022
PICTURES PROVIDED TO THE STEPHEN JOSEPH THEATRE FOR USE IN ALL,PRESS RELEASE,MARKETING, ANNUAL REPORTS,FUNDING BIDS,PRINT ,WEBSITE AND SOCIAL MEDIA
Set shots of Constellations October 2022

Nick Parke’s play Constellations is extraordinary, meticulous, inventive and deeply touching. I’m not really sure how anyone manages to perform it. When it is up to speed watching it is like admiring all the cogwheels of one of those high quality nineteenth century pocket watches spin and turn as they work together to tell perfect time. Time is at the heart of it. It is an exploration of the idea that there may be many different universes which co-exist, formed by the decisions that we make, luck and chance. You do have to concentrate, not because it is complicated- I know it sounds it- but because it moves at such a pace that you will miss something if you don’t. The writing has such clarity that I was never left wondering what was happening. We watch the love story between Roland, a geeky bee keeper and sparky physicist Marianne’s love unfold and different possibilities are shown along the way. The only other playwright whose work has left me open mouthed in the same way is Caryl Churchill.

I’m not sure it is possible to perform this play badly. I think you either fall flat on your face very quickly or fly and Emilio Iannuci and Carla Harrison-Hodge definitely fly. I was left feeling at the end that if they could perform that play they could probably do anything. Technically it is a huge challenge and at the same time as meeting those demands and keeping that pocket watch up to time they have to produce two characters with warmth and emotion who we can relate to, Without that the play would just become an empty shell, clever but with no heart. They work together perfectly and they should be very proud. Not one beat is missed.

The set, designed by TK Hay and lit by Jane Lallgee is a real beauty, strands of fibre optic cable reaching up from a simple wooden floor and three long, static wooden podiums. It is worth looking at for itself alone but it also helps clarify the story telling as the fibre optic cables light up and the podiums allow for fast changes of position when things change or move on. It was also absolutely perfect for a very special theatre space in the round which makes considerable demands but rewards something that works.

Paul Harrison’s direction doesn’t show It makes you feel that it all all had to be that way, but behind all this wonder there is the hand of a master watch maker and it is his outside eye that will have helped his cast meet the demands of the play. This production needs to be seen outside Scarborough and while there are no immediate plans I was told to watch this space when I asked. Someone should snap it up and produce a tour. I loved it.