In Search Of Lost Time and Found Memories, A Performance Piece For The Second Theadmash, Gladstone Arms, 28 March 2019

On pondering the topic, lost and found, I soon realised that the thing I tend to lose most frequently at this stage of my life is time. And that the thing I am seeking to find with the most gusto is memories.

Those thoughts reminded me of two anecdotes.

The first one came at the end of the cricket season a few years ago.

Late season, I always try to take in a day of county cricket with my old friend, Charley “The Gent” Malloy. It helps us both to prepare for the inevitable winter withdrawal symptoms. The cricket season starts earlier and ends later each year, yet it seems to fly by faster than ever. Where do those months go?

In order to investigate this temporal phenomenon, which I shall paraphrase as ‘in search of lost time,’ I decided to add a large packet of madeleines to the picnic. I had bought that large pack earlier in the season but had not got around to using them. Those madeleines would expire before the next season. Besides, as any fool knows…

…or at least anyone with a vague knowledge of the writings of Marcel Proust…

…when in search of lost time, what you need more than anything else, is madeleines.

Madeleines de Commercy

No sooner had the umpires called “tea”, than out came the madeleines.

And no sooner had the crumbs touched my palate, than a shudder ran through me and I stopped, intent upon the extraordinary thing that was happening to me. An exquisite pleasure had invaded my senses. Whence did it come? What did it mean? How could I seize and apprehend it?

And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings nanny would hand me, after dressing me in my little sailor suit, when I went to say good morning to mama in her boudoir.

“Are you getting involuntary memory from these?” I asked.

“Yup,” said Charley. “I can recall the rare occasions in that grim North-Eastern mining town, when mum would put a tiny pile of cakes on the table and the whole family would fight like wildcats in the hope that a few crumbs might touch yer palate.”

Now Charley is Essex born and bred. He does have some County Durham ancestry way back, but I’m not sure he’d ever even been to County Durham until we went together to the Durham test match in 2013.

“Hmm”, I said. “I think we might both be getting false memory rather than involuntary recovered memory from this packet of madeleines. Must be the lack of lemon zest. Still, they’re surprisingly good for packaged cakes. I’ll have another.”

“Me too”, said Charley.

So we ate three or four each and Charley took the remainder home to share with his starving wife and bairns.

Now, not all that long afterwards, I experienced a real example of finding a lost memory as a result of eating food. The foodstuff wasn’t madeleines this second time; it was caviar. Janie decided to treat us to a small pot of Ossetra caviar to help celebrate New Year’s Eve.

And this time, the recovered memory was an extremely peculiar but absolutely genuine memory…

…about Hitler.

Now there is an internet adage known as Godwin’s Law, which states (I paraphrase) that any internet discussion will eventually descend into a Hitler comparison.

Surely Threadmash should be a Hitler-free, safe space; not subject to an immersive equivalent of Godwin’s Law? Normally, yes, but not today.

From my infancy all the way through my childhood in Streatham, we had a wonderful lady doctor, Dr Edwina Green. Edwina was a GP who went way beyond the call of duty.

For example, because I was…how should I put this?…more than a little fearful of my jabs as an infant, she came round to our house to dispense the vaccinations. On one famous occasion, when I was feeling particularly averse to being stabbed, Edwina indicated to mum that my rump might make a better target in the circumstances. I worked out the coded message and tried to bolt. The end result was a chase around the room and eventually a rather undignified bot shot delivered by Edwina under the dining room table. My mum oft-reminded me of this later in my life.

Not even the trike was fast enough for me to escape Edwina’s needle

This extraordinary level of pastoral care and attentiveness went beyond zealously inoculating reluctant Harris miniatures – Edwina and her family were close friends with my immediate family, not least the ones who came “from the old country”. Uncle Manny, whose opinions were so robust and plentiful, that everyone in the family called him Pundit…and Grandma Anne – a traditional Jewish grandmother, who peppered her heavily-accented English with “bissel Yiddish”.

Grandma Anne With Dad (left) & Uncle Michael (right), c1930
Uncle Pundit (centre) with Dad (left) and Uncle Michael (right), c1950

In the early 1970s, at Christmas-time, my parents would go to Edwina’s house for a seasonal party, along with many other local folk. Naturally, my parents plied Edwina and her family with gifts…many of Edwina’s other patients and guests most certainly did the same.

A strange tradition arose, in which Edwina reciprocated our present giving by handing down a generous gift she would always receive from a wealthy Iranian patient; an enormous pot, I think a pound, of Iranian Beluga caviar.

By Mai Le [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

Edwina and family didn’t like the taste of caviar. Nor did my dad, as it happens. But mum loved it and I acquired a seasonal taste for it too.

Each year, mum and I would eat Beluga caviar on toast for breakfast for the first couple of weeks of the year.

Even back then caviar, especially Beluga caviar, was very expensive. Not equivalent to the “critically endangered, barely legal, hard to get hold of” price levels of today, but still very much a pricey, luxury item.

I remember mum warning me not to tell my friends at school that I was eating caviar on toast for breakfast, because they would surmise that I was a liar or that we were a rich family or (worst of all) both.

There was only one problem with this suburban community idyll; Don Knipe. Edwina’s husband.

Don liked his drink. Specifically Scotch whisky. More specifically, Teacher’s whisky. A bottle of Teacher’s always formed part of our family Christmas gift offering, that bottle forming but a tiny proportion of Don’s annual intake.

By ramkrsna (http://www.flickr.com/photos/ramkrsna/384365364/) [CC BY-SA 2.0 (https://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons

Don I recall always being described as “eccentric”, but, as the years went on, Don’s eccentricities gained focus with increasing unpleasantness. Don joined the National Front, at that time the most prominent far-right, overtly fascist party in the UK.

One year, when I was already in my teens, my parents returned early from Edwina and Don’s party. I learned that Don had acquired a large bust of Hitler, which was being proudly displayed as a centrepiece in the living room. My mother had protested to Don about the bust, asking him to remove it, but to no avail. Mum had taken matters into her own hands by rotating the bust by 180 degrees. When Don insisted on rotating Hitler’s bust back to its forward-facing position, mum and dad left the party in protest.

Mum told Don and Edwina that they remained welcome at our house but that she would not be visiting their house while Hitler remained on show.

One evening, a few weeks or months later, my parents had Edwina, Don and some other people around our house. The topic of Hitler and Nazi atrocities came up. Don started sounding off about the Holocaust not really having been as bad as people made out.

Edwina And Don At My Bar Mitzvah, Natch.

My father stood up and quietly told me to go upstairs to my bedroom. I scampered up the stairs but hovered on the landing out of view to get a sense of what was happening.

My father was a very gentle man. I only remember him being angry twice in my whole life; this was one of those occasions.

“You f***ing c***!”, I heard my dad exclaim.

I learned afterwards that my father, not a big man but a colossus beside the scrawny form of Don Knipe, had pinned Don to the wall and gone very red in the face while delivering his brace of expletives.

I heard the sound of a kerfuffle, a few more angry exchanges, ending with “get out of my house”. Then I heard Don and Edwina leave the house. Edwina was weeping, apologising and trying to explain that Don doesn’t know or mean what he says.

Dad – a supremely gentle fellow…usually

The story gets weirder. Edwina remained our family doctor, although social visits were now at an end. Don and Edwina remained extremely attentive to Uncle Manny’s branch of the family and Grandma Anne.

And the seasonal exchange of gifts remained sacrosanct.

For reasons I now find hard to fathom, I became the conduit for the seasonal gift exchange. Why my mother, who organised the errand, felt that I would be less defiled than my parents by visiting a household that displays a bust of Hitler, I have no idea.

Anyway, for several years I would go to Edwina and Don’s house to deliver our presents and collect the fishy swag. I didn’t go into the large living room which contained Hitler’s bust; I would usually be received in a smaller front drawing room.

As I got a bit older, Don would ask me to join him for a whisky and a cigarette; offers which I accepted.

I can’t recall what Don and I normally talked about; not politics. We probably just chatted vaguely about my family and the weather.

But I do recall what we talked about in 1981, my last visit in this ritual.

Uncle Manny had passed away suddenly and rather dramatically in May that year. Grandma Anne never really recovered from the shock of Uncle Manny’s demise and died in the autumn that same year.

By late December 1981 I had completed four terms at Keele; I was far more politically aware than I had been in earlier years.

Don greeted me at the front door, as usual, but this time said, “come through to the living room and have a whisky with me.”

“Not if Hitler is still in there,” I said.

“Oh don’t start all that”, blustered Don, who I think must have made a start on the whisky before I got to the house that morning. “I really want to chat to you about your late uncle and your grandma.” Don started to cry.

I relented and entered the forbidden chamber.

And there he was, in the sitting room, glaring in my direction.

Hitler.

The bust of Hitler, I mean. I said the story was genuine and strange, not deranged.

Hitler’s bust, resplendently positioned with Nazi flags and books about the Third Reich on display around it.

I accepted a generous slug of Teacher’s and a Rothmans; then I reluctantly sat down.

Don was crying. “I miss your Uncle Manny and your Grandma Anne so much”, he said, “you have no idea how fond of them I was. I love your family.”

I remember saying words to this effect, “Don, I understand that you sincerely love my family, but I cannot reconcile that love with Hitler, Nazi memorabilia, your membership of the National Front and you keeping company with those who hold such views. Those are antisemitic, out-and-out racist organisations and people. It makes no sense to me.”

“It’s not about Jewish people like your family. I love your family.”

“So what sort of people is it about?” I asked.

“Other people. You don’t understand”, said Don.

Don was right. I didn’t understand. I still don’t understand. It isn’t as if our family was so secular and Westernised. Uncle Manny and Grandma Anne were like Jewish stereotype characters from central casting.

“Godwin’s Law, Godwin’s Schmo, Don Was Always A Mensch Towards Me”

I think I was polite in making my excuses and leaving fairly quickly. The visit certainly didn’t end in any acrimony or hostility. For sure I got the caviar. But I resolved not to run that errand again and (as far as I recall) didn’t ever visit that house again.

Strange. And I found that memory simply as a result of sampling a small pot of caviar with Janie.

Now, as an experiment this evening, I thought it would be fascinating for all of us here at Threadmash to see if we can find lost memories in this way.

So, at my own cost…

…with absolutely no expense spared…

…I have bought each of you a small pot…

[TURN PAGE IN SEARCH OF THE PUNCHLINE]

…I have bought each of you a small, pot-entially Proustian…

…madeleine.

[HAND OUT WRAPPED MADELEINES FROM BAG]

Postscript – Brief Review Of the Evening, Written The Morning After

We gathered excitedly at the Gladstone Arms for this second Threadmash. Ten of us with stories to tell and just a couple of people this time observing only.

People listening intently to Rohan’s intro

As last time, Rohan was the arranger and compere for the evening. He stitched me up to go first – which explains why I was in a good position to photograph some of the group from the side during Rohan’s intro.

Eight of us were having a second go; two new people joined us in telling a story.

The stories tended to be darker and more visceral this time. Perhaps the topic, “Lost and Found” was asking for that. Two of the stories were about experiences with drugs and/or addiction. Two were about nearly losing a loved one, together with the intense emotions that arise from such events. One was about nearly losing a cherished artefact – in this case a violin; a personal story, interestingly, nevertheless, told in the third person.

Several of the pieces this time were experimental in their written style. One was in blank verse. Two were fabulist, in one case making it intriguingly hard to tell the extent to which it was based on personal experience. One story spanned over fifty years and ended with a fascinating revelation.

All of the stories and performances were very good indeed; delivered and received with great warmth.

To continue the thread for next time, Rohan brought a pile of single records, from which we each picked two at random, so we shall each have a different title next time and some element of choice from the records we picked.

Not a bad random choice to trigger story-telling

One story teller, earlier in the evening, had said that we don’t always find stories to tell; sometimes a story finds us. I was pondering this fascinating idea, after parting company with the last of my companions, as I switched to the Central Line at Bank. There, on the train, as I sat down in the almost empty carriage, on the seat opposite me, a story found me:

There simply has to be a story behind that crumpled Ann Summers bag. It won’t be my next Threadmash story, but it is a story that should be told. If you want to tell it; please do so – it might not be for me to tell that story.

It had been a wonderful evening.

As I write, the next morning, my head is full of all of those stories and the warm, friendly feeling that pervaded the evening. Strangely, I cannot find a single word to describe that feeling in English, whereas there is a suitably descriptive word for it in German: Gemütlichkeit.

Once again Rohan, many thanks for making Threadmash happen. Here’s to the next one.

Wilderness by Kellie Smith, Hampstead Theatre Downstairs, 23 March 2019

We saw the third preview of this excellent play/production at the Hampstead Downstairs.

A link to Hampstead’s information on this piece can be found through this link or the picture below:

Wilderness is about a couple who split up, determined to make it amicable for the sake of their eight-year-old son. But of course it doesn’t work out like that.

Janie and I found this play a painfully visceral piece. Neither Janie nor I have direct experience of this scenario, but that didn’t lessen the power of the drama for us.

Anna Ledwich, who has directed so many of the excellent things we’ve seen at the Hampstead, has again done brilliant work with a new writer, Kellie Smith and a superb cast: Richard Frame, Natalie Klamar, Allison Mckenzie, Finlay Robertson.

An excellent, sparse set by Lucy Sierra added to the sense of cold and decay that pervaded the piece.

One element of the writing that I think deserves praise was how very irritating the main characters were, yet Kellie Smith managed to maintain a sense of goodness and vulnerability, such that we as audience members cared about them and cared what happened to them. One of the ways she did that was to prevent us from ever seeing the child at the centre of the tussle; of course we couldn’t but care deeply for the ever-absent child and the impact the play’s events must have been having on him.

One other event will stick long in our memories. Next to us sat two slightly unusual women; one young, one quite a bit older. They clearly weren’t together but struck up a chatting friendship. At the end of the interval, the younger woman came back with some wine and cake. She plonked the wine down in front of her (we were in the front row) and commenced with munching the cake, taking and expressing great joy in her victuals.

Janie and I both, silently, thought that wine cup was an accident waiting to happen, positioned, as it was, in the path of any late-comer who might be moving swiftly to their seat at the end of the interval. Within a minute, indeed such a latecomer arrived and indeed the cup and the wine were put asunder. To make matters worse, in her dismay and forward lunge in a vain attempt to rescue her wine, the young woman also dropped the remains of her cake.

“Oh no”, said the young woman, “that was entirely my own fault”.

In some ways, that silly incident felt like a comedic metaphor for the serious subject matter of the play. Meanwhile, I have been trying to work out if I can find yet sillier places to leave victuals and crockery lying around the house in order to maximise the chance that they get spilt and/or broken. Thought experiment only, you understand.

But back to this truly excellent play/production, Wilderness. It really is well worth seeing if you like your drama intense, up close and personal.

Plenty of seats still available at the time of writing; Janie and I would suggest that you book early to avoid disappointment. The production runs to 27 April 2019 and I hope it gets a deserved transfer after that.

If or when Wilderness gets formal reviews, this link should find them.

Art For Art’s Sake: An Evening With Simon Jacobs Recording I Only Have Eyes For You, Followed BY Dinner At The Brackenbury Wine Rooms, 21 March 2019

Did I mention that I had a recording deal lined up? Yeh, Simon Jacobs, who does producing as well as recording and all that – he signed me up to do a demo in his high tech studio. This could be the start of my stratospheric popular music career and not before time, frankly.

Now Simon is a very musical chap and has been so for longer than I have known him, which is well north of 40 years. Here, for example, is his latest hit, Ghosts, which he released many weeks ago, but it refuses to fade in the Spotify rankings, still getting infeasible thousands of streams a week on that platform – the YouTube is below so you can also see the vid:

So what, in the name of all that is good and pure, was Simon thinking when he suggested that I record the Warren & Durbin classic, I Only Have Eyes For You. Not in the original Dick Powell pitch/key of C (heck knows that is hard enough for me, even with the sheet music to look at), but nine whole stops up the register in the Art Garfunkel range.

Nine whole stops. That’s like, Notting Hill Gate to South Ruislip, if you are daft enough to go west from Notting Hll. Even Ian Pittaway, my music teacher, who has crazy ideas about my ability to reach high notes, only nudges me three or very occasionally five stops up.

Here’s the result of Simon’s wild musical concept:

The idea for this recording session/evening emerged some six months ago, when Simon and I last dined in Hammersmith…

…and discussed the song, I Only Have Eyes For You, which I butchered lyrically for Casablanca The Musical…

…the revival of which I was just about to go and see in September 2018:

Anyway, Simon said that he much preferred the Art Garfunkel version of the song:

While I complained that even the original Dick Powell was wicked hard for me to play and/or sing.

But Simon insisted that his recording gadgetry could rectify any minor failings in my singing and that he thought he could, with a little effort, turn me into a latter-day Art.

It seemed like a jolly good excuse for a get together and/but life seemed to intervene for a while, so a ridiculous number of months passed before we actually got round to implementing the plan.

On the day, I arrived at Simon’s West London studio, which also doubles as his house, late afternoon/early evening, ready for a rollicking rock’n’roll evening of music.

First up, obviously, we indulged in some appropriate herbal substances; a big mug of tea each, together with some chat about really trendy topics, such a Brexit.

Then down to business with the recording.

I felt a little strange working on that particular song, that particular week. A couple of days earlier I’d been to the funeral of our neighbour, Barry Edson, who was an aficionado of film musicals. I’d had several interesting conversations with Barry about Warren and Durbin songs and Barry had shown me interesting stuff about those song writers from his library-sized collection of books on the topic.

But back to me recording I Only Have Eyes For You in an Art-like style with the help of computerised sound engineering.

Actually it was a very interesting process for me. Simon clearly does this sort of thing a lot, but mostly with his own, not with anyone else’s, voice.

We had a rehearsal run through. Then we took a recording take which sounded crackly. That led to some rearrangement of the microphone, the music and me. I even offered to remove my socks but those lengths were deemed unnecessary.

Then a couple more takes, at which point Simon thought we might try to repair take four with some fragments, but after we’d done that, I suggested one more try at a better straight-through take.

I’m glad I did that, because the final take was, in my opinion, quite a lot better than the previous ones (I realise that notion might be hard for the listener to believe).

Then Simon really got down to doing the sound engineering thing.

Simon is geeking my song

It was a bit like having your homework marked in front of the school teacher. On many of my notes, there was a huge amount of vibrato which Simon was able to smooth a bit.

Imagine, as an analogy, someone using fancy software to turn my legendary illegible handwriting into something that looks more like a legible script.

Is there any handwriting-smoothing software that might help? – September 1989 sample

The music software would help each note find its probable home on the scale. But sometimes the thing I had sung was closer to some other note than the note that the purist might fussily describe as the “right” note.

Actually I believe I did sing all the right notes…just not necessarily in the right order.

But it didn’t matter because Simon’s fancy software could shift pretty much whatever I sang to the exact place it belonged on the scale.

On just one occasion did Simon have to say, “I’m not even sure what you’re supposed to be singing there – may I please see the music?” – that was on the second intro couplet, which Art Garfunkle doesn’t sing.

And there is the one note that I strangled so very comprehensively that no amount of tinkering seemed able to repair it. Let’s imagine that I was gulping with emotion on that note.

Then some more listenings and some more tinkerings…

…by which time I was getting quite excited and wondered whether we should try more and more takes, on the basis that my voice seemed to be getting better and better each time.

The conversation then drifted towards artistes who had spent months or even years trying to perfect individual tracks for release.

I wondered whether we might lock ourselves away, perfecting this track, for, say, five years, in order to emerge, not only with a sure-fire hit on our hands, but with Brexit over. Simon thought that five years is probably not long enough…to ensure that Brexit is over with.

Anyway, in case you missed it above, or want to hear it again, here’s the end result:


Timothy then joined me and Simon for dinner at The Brackenbury Wine Rooms, which was a suitably convenient and high quality location for some good food & wine plus some top notch natter. It was a good opportunity to get to know Timothy a little better – the only time I’d met him before was at Simon’s Circle Line album launch, about 18 months ago, which was not an occasion for getting to know people well.

On parting, I suggested dates for me to return to record the rest of the album. But Simon just shook his head politely and solemnly. “A one-off recording deal, that was”, he said.

“Not even a B-side for the single?” I asked.

Simon shook his head politely and solemnly again, as both Simon and Timothy said, “goodbye,” not, “au revoir.”

But…

…and here’s a thing…

…when I listened to the track again the next morning, it sounded far better to me than it had the evening before. I said so to Simon, in a thank you message. Simon’s reply, perhaps similarly inspired by a re-listening:

Glad you like your recorded performance! Do let me know when you’re ready to record your whole album!! 

So now I have an album deal lined up? Yeh, that well-known music producer Simon Jacobs…this must be the next stage of my stratospheric popular music career and not before time, frankly.

A Superb Evening At Mere Restaurant With John And Mandy, 16 March 2019

In many ways this evening had been long in the planning. Janie and I spotted Mere as a suitable place to dine with John & Mandy last summer, but in the end we opted for Dinner In Noddyland:

Then, a few months later, I chose it for a midweek get together with John:

So good was it, that John and I decided that we “owed it to the girls” to all four have a meal there once the opportunity arose. Now was that opportunity.

We met ahead of our booking time to have a drink in the lovely bar. Janie and I got there first and I ordered a bottle of the excellent Sancerre that John and I had tried at Mere the first time around.

Once John and Mandy arrived, we chatted a fair bit about Manchester and Lydia’s professional debut in Rags, of course, which I had witnessed just a few days earlier:

We also discussed many other things, not least John and Mandy’s other daughter, Bella, who looks set to go to Manchester to study – does Bella not know about the inclement weather in Manchester?

We all decided we wanted to try the tasting menu; so we did. Three of us (all bar Mandy) also went for the wine pairings.

John And Mandy taking it all in, as the sommelier explains the first of the wine pairings
Here’s all the stuff we tasted, in words.

Janie took the pictures, which explains why she appears in none of them. Take my word for it, Janie was also listening attentively, smiling a lot and enjoying the tastes, smells and the chat.

Leeks & Truffle
Attentive listening
Cornish Cod
Was I describing Hitler’s cohones at this juncture? Something like that.
Scallop
Mandy sniffs the interesting Youngblood Grenache served with the scallop
Rose Veal
We really do look like a couple of pseudo-connoisseurs in this picture
White Port to go with the cheese
Cheese (mine mercifully without the candied walnut)
Am I unconvinced by the final wine or just running out of steam?
Apple
Chocoholics delight

This Ogblog piece makes it look as though we did an awful lot of eating and drinking, which we did. But the portion sizes were such that we did not feel stuffed or sloshed at the end of the meal, just very happy.

We all four know how lucky we are to be able to eat in a place as good as Mere and to be able to enjoy the company of such good friends. It was a truly memorable and wonderful evening.

Or, to summarise in one word using John’s favourite adjective back in the mid 1980s:

Tremendous.

Two Nights In Manchester, 12 to 14 March 2019

It can be cold and wet and windy in Manchester. Who knew? No, I mean honestly – my previous few visits were warm and pleasant – e.g. the most recent one in September 2016:

Anyway, life hasn’t been taking me to Manchester much lately, so when John White told me that his daughter, Lydia, was to have her first professional stage role in Rags The Musical at the Hope Mill Theatre…

…I decided to construct a short trip to that fair, clement City.

I contacted Ashley Fletcher, who had been unavailable on my previous visit or two; we arranged to meet for dinner on the evening of 12 March. So I booked three goes at the Manchester Tennis and Racquets Club, a ticket for Rags for 13 March and an Airbnb apartment near to the Hope Mill Theatre for two nights.

Unfortunately, Ashley got called away at the last minute on family matters, leaving the first night free. This possibly afforded me an opportunity to meet up with Alex “King Cricket” Bowden instead…

…but Alex spotted that Manchester City were to play Schalke 04 at the City Of Manchester Stadium that night, which is within chaos distance of my chosen location for diggings and musical theatre. What do I know of football? For a start, why are Schalke given 04 just for turning up – are they using a handicapping system in football now, much as we do in real tennis?

Strangely there had been a big European match at that same stadium when I was last in Manchester in 2016 against a shibbolethic team named…

…Borussia Mönchengladbach….

…But as I was staying in Salford Quays that time, the resulting disruption was merely hearsay to me, whereas this time I had inadvertently arranged to stay right in the thick of it.

I sought some spiritual advice on the matter.

I had arranged to meet Andy Salmon at Sacred Trinity Church briefly before playing tennis that Tuesday afternoon. We are both involved with the Church’s on-line service register initiative, which Andy is piloting.

Sacred Trinity, Salford (15217623208)
Sacred Trinity: a beautiful church in Salford which happens to be just around the corner from the Manchester Tennis And Racquets Club

It was actually very interesting for me to see one of the Churches involved in our project, not least to see what such places are like on a regular, non-service day. Andy of course made me very welcome and also gave me some helpful local North-East Manchester advice regarding what to do when a big match is on. Basically, get to your digs early enough to avoid the chaotic roads/transport and then only go out again during the hours of play.

ImageManchester Tennis and Racquet Club
Manchester Tennis And Racquets Club – not so special looking from the outside – you can see why I drove around the block a couple of times on my first visit there.

After tennis (a close match in which I came second, despite having received handicap points) I dashed off sharpish to get to New Islington early and settle in to my apartment. Probably just as well, not least because I could see the police getting ready to herd fans round the ring road and along Pollard Street. Also, it took me a while once I got to the apartment to sort out parking and entry – some goon had parked in the designated parking space for my car. The errant parking goon had been given a parking ticket, but I had no idea what I was supposed to do in the circumstances, so I waited for my host to sort out an alternative space for me to use, which he did reasonably quickly.

Getting in and out of these fancy apartments in converted industrial buildings is often quite a palaver (this is not my first time in such a place), but this one was quite exceptional, with codes for the car park, building entrance, stairs (if needed – wasn’t), corridors and then finally the front door. Once you know all of these things its OK, but the first time, laden with baggage…

…anyway, I was there in decent time and liaised with Alex. We concluded that getting either of us to and from each other within the hours of play would leave precious little time to actually do anything of merit, so abandoned the idea of meeting.

I took refuge instead at a very friendly-looking, family run Thai cafe,
just around the corner from the apartment. It was until recently called Vivid Thai, but has recently changed its name to Jūb Thai, renamed in memory of Grandma, apparently. I tried the chicken Pad Thai, which was lovely, washed down with a glass of red wine.

Plenty of time to eat there between the start and end of a football match.

Indeed I was home well before the end of the match and was very tired. I had driven almost all the way to Manchester through torrential rain; my least favourite driving conditions. I went to bed early and thought I heard the roar of the crowd from the stadium. Probably a goal I thought, dozily.

Then, half asleep, I thought I heard that roar again…then, soon after, yet again. I started to wonder whether I was actually hearing the howl of occasional gusts of wind rather than the crowd, but when I woke the next morning I discovered that Manchester City had done rather well, scoring seven and thus exceeding Schalke’s 04 on the handicap system.

I also discovered that Manchester City had done similarly well on my previous 2016 visit, scoring four against a team requiring no handicap – I’m starting to get the hang of this new soccer scoring system now. I’m sure the soccer crowds just love the additional nuance that handicap scoring can bring.

Anyway, after that enjoyably early night, I rose early and had plenty of time for reading and practising my Renaissance guitar technique before going off again to Salford for a lunchtime tennis match up. This time no handicap at all and this time I prevailed over my opponent. Both of the matches had been very good ones; really nice people and good challenging tennis. Tomorrow I’ll return for a lesson.

Back to the apartment for some more music and reading. Then back to the Thai place to try a rice dish – a beef massaman.

Then a quick pit stop back at the apartment before heading off to the theatre to see Rags The Musical, which I have written up here.

The next morning I vacated my apartment and drove round the ring road for my tennis lesson. I decided to take a picture of the main lobby of the club, which, in contrast to the exterior, looks like a grand club from a bygone era. Trigger warning: the heads of deceased beasts line the walls:

Through the arched window (as they would say in Play School) is the real tennis court.

Darren Long gave me my lesson – as indeed he did on my last visit. He does some different drills from the guys at Lord’s and has some interesting thoughts on the one or two things I might do to transform my game from the ordinary to the utterly exceptional. It might be as easy as that…although it might not.

Seriously, Darren is a very good coach and it was a very enjoyable hour. Once again, the team at the Manchester Tennis and Racquets Club had made me feel extremely welcome and looked after me as well as I could possibly have hoped for.

After the lesson, I availed myself of the changing room facilities and made a discovery worthy of a King Cricket write up – click here or below:

If by chance anything ever happens to the King Cricket site, that page is scraped to here.

That lavatorial stump contraption helped me to recover a childhood memory; a similar stump contraption for our back drive, made for me by a kindly, coincidentally Mancunian neighbour, Cyril Barnett:

I made two stops on the journey home to ensure an adequate state of alertness and to stretch a bit – driving from Manchester to London straight after a rigorous hour of drills on the tennis court is probably not ideal on the old body, but still.

It had been an enjoyable trip; apart from the cold, the wind and the rain. Manchester really should try and do something about that – otherwise it could end up with somewhat of a reputation for its inclement weather.

Rags The Musical, Hope Mill Theatre, 13 March 2019

Declaration of interest: I have known Lydia White, who plays the role of Bella in this production, since before she was born; she is my best mate John’s daughter. This production is Lydia’s professional debut.

Picture borrowed from Lydia’s Twitter account – I’m guessing she wont mind.

Declaration of uninterest: this type of musical theatre is simply not the sort of stuff I would normally see. Yes, I wrote lyrics for Newsrevue in the 1990s, which is sort-of musical theatre and yes I wrote the lyrics for Casablanca the Musical at the turn of the century.

Yes, I am familiar with recordings of many of the great musicals of the 1930s through to the 1970s. But you can search Ogblog high and low for signs of straight musical theatre going in vain.

So, there I was; a chap normally predisposed to parodying musical theatre rather than appreciating it, trying to lap up Rags the Musical, a troubled piece from 1986 which closed on Broadway after just four nights, much revamped for this 2019 revival.

Rags is about a group of Jewish immigrants arriving in America early in the 20th Century. It has often been described as a sort-of sequel to Fiddler On the Roof, with several of those involved in writing the latter also involved in writing Rags. Here is a link to Hope Mill Theatre’s resource on this musical/production.

I thought the quality of this production was quite exceptional. I didn’t really know what to expect in a disused mill, relatively recently re-purposed as a small theatre with grand ideas to put on big shows like this.

Can they do it? Yes they can.

Coincidentally, I ended up sitting next to a pair of gentlemen who I had noticed sitting next to me in the Jūb Thai before the show. The chap immediately next to me turned out to be a local who has become very impressed by this new theatre on his manor. He told me that their home grown productions, of which Rags is one – have been consistently excellent.

The thing that impressed me the most was the universal quality of the performances. Not to detract at all from Lydia White’s superb performance, the praises of which clearly I am here to hail, in seriousness I thought the whole cast, every one of them, was truly excellent.

The quality of the musicianship was very high too. The music is a mish-mosh (if I might throw in bissel Yiddish) of ragtime, klezmer, jazz and show; that cannot be easy to contain and deliver to consistent quality, but the musicians and singers keep going to a very high quality level throughout.

The book was clearly problematic from the 1986 outset with this musical – I think the radical rewrite has partially but not totally solved the problem. I have some sympathy with the original author Joseph Stein. He originally set out to write a screenplay, settled on the libretto of a musical but kept the big picture story about the immigrant experience at the turn of the 20th Century. I have read a synopsis of the original version and it really does try to cover an enormous scope of subject matter for a musical.

And much like a troyer-shpil in the Yiddish Theatre tradition, which Rags The Musical parodies in many ways, it tries to throw in everything but the kitchen sink. So this is not one for the Royal Court.

The rewrite for this production is a smaller canvas but as a result some of the nuance is, I think, lost. So, for example…

…*spoiler alert*…

…Bella’s demise towards the end of the piece seems like happenstance rather than part of almost inevitable conflicts between ambition, desperation, industrial action and greed.

The writers have made some interesting choices, some of which work better than others. I loved the theatre trip towards the end of the first act where the protagonists see a Yiddish version of Hamlet which ends up with Klezmer music and Horah dancing despite Hamlet and Ophelia’s despair.

I was surprised by The Kaddish (mourner’s prayer) song, though, for which the writers chose simply to set the original mourner’s prayer to music. I imagined it would be something akin to the Fiddler On The Roof Sabbath Prayer song, which picks and chooses passages from the Hebrew prayer to make a very charming musical song in English.

The Mourner’s Kaddish is actually a tongue-twister of a prayer – part in Hebrew part in Aramaic – it must be really hard for people to learn it if they haven’t grown up with it and it must sound very strange to the uninitiated ear. Unfortunately I had reason to see and hear a mourner’s kaddish again, two days after seeing the show. I thought about it and really struggled to understand why the Rags lyricist hadn’t selected choice phrases in English to depict the meaning of that prayer with dignity and beauty. Perhaps superstition played its part – you just don’t mess with the prayer for the dead.

I was also surprised that the Children Of The Wind song doesn’t appear until right at the end of the show – reprised almost immediately in the finale. The musical would, to me, have seemed more holistic if that song had appeared early, e.g. when the immigrants arrive, as well as at the end of the show when their tale has been told.

But then what do I know to critique a musical? I don’t really do musicals.

At the small canvas level, the story very much resonated with me. I am, after all, a mostly third generation Jew, three of my four grandparents came to London from the Pale Of Settlement around the time this musical is set – plus or minus 20 years. My father’s family were indeed in the shmutter (rag) trade…they even changed their name to Harris; an idea which the Rebecca character considers but chooses to reject.

Grandma Anne With Dad (left) & Uncle Michael (right), both born in the UK. Two older brothers, Alec and Manny, came as infants with Grandma Anne from the Pale. The Rossinov family changed its name to Harris (based on my grandfather’s first name, Herschel) around 1930.

My mother’s family were musicians; quite quickly in England becoming far more high-falutin’ type musicians than the klezmer musicians in Rags, although I suspect my family arrived performing in much that style.

Grandpa Lew, sitting, with Great Uncle Max standing. Max was already an accomplished musician (strings) when they came to England, Grandpa Lew came as an infant and was never trained as a musician, but I’m told could play pretty much anything on the piano by ear. I inherited none of that.

More importantly, much of the big picture story of Rags resonates very strongly today, I’d argue to a greater extent than it did in 1986. Anti-immigration is a large element of the Brexit saga and also the Trump experience in the USA. The issues around ghettoisation, cultural assimilation and the like are very much with us, albeit not so much in the Jewish community any more. Questions around whether migrants are desirable for sound economic reasons, wanted for reasons of commercial exploitation, accepted because allowing migration is the right thing to do or not wanted at all – these questions are high on the agenda in most nations.

Despite my reservations about the book and some of the songs, I think this is a really super production and a performance piece for our time; it has the potential to do extremely well.

Rags has had great reviews at Hope Mill for a start – click here to see them. This production could travel very well to other parts of the country, not least London, where there are so many communities which would, I’m sure, enjoy the resonance and relevance of this musical to their experience.

So what did I really think about Lydia White’s performance?

I can try to compare it to the many performances of Newsrevue casts I have seen. On that score, I can honestly say that her performance would be a standout in that environment. An environment where standout performers (e.g. from my era, Dorthy Atkinson and Rosie Cavaliero) have tended to go on to have very successful careers.

In Rags The Musical, the whole cast is very strong and/but Lydia more than holds her own in that company. For a professional debut I think it is an extremely assured and talent-packed start to her career.

It was also a great pleasure to chat with Lydia for a while after the show and learn/observe what a friendly, tight-knit group the company seems to be. Lydia won’t get that everywhere she goes in her show business career, but it’s good news that her first production is such a good one with such a together company.

Blood Knot by Athol Fugard, Orange Tree Theatre, 9 March 2019

You wait years for an Athol Fugard to come to London and then, what do you know, two come along at the same time. Like buses, are Athol Fugard plays.

We saw A Lesson From Aloes last week at the Finborough and mighty fine it was too:

Blood Knot at the Orange Tree was also excellent, but if I was only going to see one of these productions, I’d personally choose Aloes, both for the play and for the production.

We saw a preview of Blood Knot, but I think my comments will apply throughout the run.

Blood Knot is a relentlessly grim play. The play is about two half-brothers in Port Elizabeth who are Cape Coloured, to use the hateful vernacular of the South African Apartheid regime. One is light-skinned and could pass for white, while the other is dark-skinned and is more likely to be regarded as black.

The poverty and hopelessness of the brothers’ situation pervades the whole play. The brothers are extremely well portrayed by Nathan McMullen and Kalungi Ssebandeke.

Click here or the picture below for the Orange Tree web resources on this production.

But the play is very slow. Especially the first half. Let’s be honest about this – and I am an Athol Fugard fan saying this – Fugard plays tend to start very slow. Lengthy periods of scene-setting and atmosphere-generating are intrinsic to Fugard’s style.

Blood Knot is especially slow to build. It is an early work and I think Fugard himself would admit that his craft as a playwright improved with experience.

It was a ground-breaking piece in its time; 1961. Fugard himself played Morrie and was testing the boundaries of Apartheid law; loopholes which for a while allowed white and black actors to appear on stage together.

All this and more about the horrible history of racist laws, South African colonialism and the Cape Coloured community are explained in fascinating essays in this production’s programme. I don’t often specifically commend a programme but this one I found hugely informative and interesting.

At the start of the interval, Janie pondered leaving before the second half, but then came round to the idea of seeing the production through.

By the end of the evening, she was really pleased she decided to see the second half – as was I. Still not racey, but the piece makes far more sense as a whole and the second half answers at least some of the questions at a reasonable lick.

Not the very best of Fugard, but still very much worth seeing.

Spending Time With Some Funny People, 5 and 7 March 2019

When I say, “funny people” in this context, I mean comedy people, not necessarily strange people. Some of them might also be strange of course, but I’ll leave that judgement to the reader.

Funny-comedic, not necessarily funny-strange: Rohan Candappa

First up, for lunch on Tuesday 5 March, was Rohan Candappa. He wanted to try a Malaysian & Indonesian restaurant, Melur, on the Edgware Road. As I had requested that we meet somewhere over my side, as I needed to be at Lord’s for a game of tennis afterwards, that seemed a reasonable choice to me.

The weather forecast suggested heavy rain around the time I’d be finishing at Lord’s, so I took my car to Aberdeen Place and parked there ahead of lunch.

The food at Melur was excellent. I was restrained in my choices given the tennis bout ahead, going for an inoffensive Nasi Goreng. Rohan went for a more spicy version and for some roti canai, which I tasted and reckon was a pretty darned good roti. I shall forever more associate that dish with Rohan, so much so that I’ll think of it as…Rohan Kanhai. Coincidentally, I shall similarly forever be reminded of that Guyanese cricketer when I recall Rohan Candappa’s visit to Lord’s with me, last year:

But I digress.

Initially Rohan and I discussed my burgeoning career as a musician in a novel genre which fuses punk rock with Renaissance guitar:

I’m thinking of naming my novel genre “Mock Tudor Rock”

Rohan, who plans to manage my band, made several branding suggestions – I responded to those thoughts subsequently as follows:

The Wessex Petards might work better as a band name the The Wessex Pistols and I still feel that Sir Michael Smear is a more visceral nom de punk than Sir John Rancid. But I cannot better your album name – Never Mind The Bailiwicks – it ought to go gold or platinum on the name alone, before we release so much as a tiny sound sample…in fact it had better go gold or platinum before we release so much as a tiny sound sample.

Rohan and I also spent a fair bit of our time discussing Rohan’s wonderful Threadmash idea. I had participated in the inaugural Threadmash event a few week’s before.

I very much hope my thoughts were helpful and that Rohan can find a way to make the Threadmash idea work for all concerned.

I had allowed loads of time between lunch and tennis, so brought plenty of reading matter with me which I enjoyed reading over a couple of excellent cups of coffee at Café Laville, overlooking the canal in sunshine.

Then on to Lord’s in order to be taught a lesson by one of my favourite real tennis opponents who has recovered from injury since I last played him and seemed keen to let me see how well he can now move around the court. A surprisingly close match in the circumstances – I thought I did well to get close.

On Thursday 7 March I had a music lesson with Ian Pittaway, who passed expert judgement on my Mock Tudor Rock…

Place the rascal in the stocks at once!

…while helping me with some other silly ideas (watch this space) and sensible techniques (don’t hold your breath).

Then a visit from John Random for a bite of lunch and the second of two sessions of NewsRevue archiving. The first session was 25 January. John has a large collection of NewsRevue programmes, flyers and reviews, which simply needed to be digitised.

We succeeded in scanning it all in two sessions, despite lots of chat, listening to some music and cricket-match like breaks for lunch/tea.

Following some cheerful chat about murder rates around the world, which identified Mexico and especially Tijuana as a hot spot, we both agreed that Herb Alpert and the Tijuana Brass must have a lot to answer for. So we listened to a fair smattering of Herb. John was especially taken with his version of the Third Man theme…

…and his version of A Walk In The Black Forest:

We decided that this type of music is, in many ways, the soundtrack of our childhood. Of course we like to remember the cool stuff from the 1960’s and no doubt have listened to far more of the cool stuff in later life, but when we were kids this was the music that was being played on the radios and gramophone players most of the time in our homes and the homes we visited.

We also of course chatted about NewsRevue casts, shows and material gone by. We discussed one of my own classics from more than 25 years ago, Mad Frogs And Englishmen, which I realised I hadn’t yet Ogblogged. I have put that right now:

Job done in terms of the archiving, it was time for us to set off for one of our regular Ivan Shakespeare Memorial gatherings – at which NewsRevue writers from years gone by gather to eat, chat, laugh and informally quiz.

It was International Women’s Day today, so we found ourselves an all male gathering this time. In addition to me and John: Gerry Goddin, Mark Keagan, Barry Grossman, Colin Stutt and a rare but much appreciated visit from NewsRevue founder and “father of the house” Mike Hodd.

The venue was the Spaghetti House in Holborn this time; a good notch up in service and food quality from Cafe Rogues in my view. My first time there but not the group’s first time.

For many years John Random has talked about his vicarious support for a football team by the name of Blyth Spartans. His home town, Hartlepool, is John’s real team but he has carried a torch for this other team for decades.

John excitedly reported that he finally got to visit Blyth Spartans and saw an exciting match there just the other week. I believe it was this match. I feel that this momentous event needs recording for posterity, as does an image of John wearing his new Blyth Spartans titfer.

John reported on the event as follows:

I would like to say a big thank you to all those of you who came out to the Spaghetti House on Thursday night. Thanks also to Mike, Colin and Gerry for their entertaining quizzes. Falling as it did, almost on International Women’s Day I regret to report that NewsRevue has still not come clean on its gender pay gap. We haven’t even had any jokes about it, yet – though I have a feeling, we will – and soon.

As I said earlier, it had been a funny week.

Funny ha-ha, not funny peculiar.

Well, maybe funny ha-ha AND funny peculiar. Good times with good friends.

The Sound Of Home Counties, Performed By “Ged Waitrose”, 4 March 2019

About eight weeks ago, when I published a couple of modern songs in a slightly Renaissance manner…

…Rohan Candappa implored me to attempt Sound Of The Suburbs by The Members in a similar style.

My problem with Sound Of the Suburbs, though, is that I never found it convincing as a new wave or punk anthem. On that track, The Members always felt like a “me too” act, performing in a style that wasn’t authentically them.

Indeed, my research uncovered a few uncomfortable facts about The Members. Firstly, they were from Camberley, which is not what I’d describe as a suburb; I’d call Camberley “home counties”.

I also discovered that the lead man in The Members took Nicky Tesco as his “nom de punk”. Not very punk in my view, next to names like Sid Vicious and Rat Scabies.

Hence my adaptation being, “The Sound Of Home Counties” – a mash up of Sound Of the Suburbs with Tell me Daphne by William Byrd.

My nom de punk is Ged Waitrose

Rohan Candappa said, “never explain”, but then I don’t listen to everything Rohan says.

Rohan also said, “Ian, you’re a Rock God”. I’m rolling with that idea; Rohan talks a lot of sense sometimes.

Here’s The Sound Of The Suburbs by The Members:

While here, believe it or not, is the version of Tell Me Daphne with the highest number of YouTube hits in the whole of the webosphere:

Perhaps Rohan is right about me being a Rock God.

Try “The Sound Of Home Counties” again…go on!

Inside Bitch, Royal Court Theatre Upstairs, 2 March 2019

We were intrigued to see this piece, conceived and performed by women who have been to prison – a Clean Break production alongside the Royal Court.

Our previous experience of a Clean Break and Royal Court production, Pests, blew us away when we saw it five years ago:

In truth, Inside Bitch is not quite such a visceral, blow the audience away piece. It is a thoughtfully and entertainingly devised workshop-style piece in which women who have actually been to prison go through a post-modern process on stage of trying to devise a women in prison drama based on reality rather than the sensationalism normally seen in films and TV dramas on that topic.

The show is just over an hour long. Some bits worked better than others for us but for sure we found the piece entertaining throughout. That, despite the fact that many of the references to film and especially to TV drama on the topic were wasted on me and Janie because we simply don’t watch/have never seen that stuff. But we could imagine.

Here’s a link to the Royal Court resource on Inside Bitch.

While here is a link to a short vid about the piece.

The place was packed with the cast and crew’s nearest and dearest the night we went, which was preview Saturday, so the tumultuous reception was to be expected but was nevertheless deserved.

We’re ahead of the formal reviews, but once they’ve been writ, this search term should find them.

A very imaginative playtext/programme, btw – ironically priced at “a lady” and well worth it for a subsequent skim or three.

Not a conventional play, but a very entertaining and thought-provoking hour of theatre. We enjoyed it and would recommend it.