A Tribute To Mike Hodd, Founder Of NewsRevue, September 2022

Mike Hodd – photo by John Burns (Random), taken in 2010 at an Ivan Shakespeare Dinner at Cafe Rouge, Maida Vale

Since 1992, NewsRevue has been part of my life. For the first several years, in the 1990s, as a writer for (and regular attender at) the show. Latterly, through the enduring friendships and sense that “NewsRevue Writing Alum” is an integral part of my identity.

I explained much of this in a piece I wrote three years ago for the 40th anniversary of the show:

I, together with countless others who have been involved with the show over the decades, owe a huge debt of gratitude to Mike Hodd, who died on 19 September 2022.

Mike Hodd was one of the founders of NewsRevue in 1979. But Mike’s role went way beyond founding. By the time I came along, 12 and a half years later, Mike wrote little if anything for the show himself. But Mike was a regular presence as a mentor and friend to those who were or had been involved with the show.

Mike gave me lots of encouragement when I first started writing for NewsRevue. Also beyond those early months. I especially remember Mike heaping praise on one of my songs, about Bill Clinton and his priapic nature:

I also remember Mike telling me that the above lyric reminded him of one of his own, presumably about some earlier licentious politician, which Mike had written to the tune of Son Of Hickory Holler’s Tramp by O C Smith. I recall Mike’s delight when I told him that I was familiar with that track and thought it suitable for such a song.

If anyone out there by chance has a copy of Mike’s “Hickory Holler’s Tramp” lyric, I (and no doubt many other NewsRevueistas) would love to see it.

John Random and I are currently excavating the Chris Stanton NewsRevue script archive. So far we have only recovered one “original Hodd” which i replicate below.

Just in case anyone reading this doesn’t remember the Karin B incident from 1988, it was an Italian barge loaded with hazardous waste bound for Nigeria, perceived by the public, once word of the practice leaked out, as a dodgy idea commercially, morally and environmentally.

Which brings me on to the other side of Mike Hodd, which was his actual career as a Professorial expert on development economics and the economics of corruption. Mike wore his incisive intelligence lightly and politely when discussing any topic, even those upon which he was an expert.

After I and my “NewsRevue Class of ’92” cohort stopped writing, we continued meeting up regularly for Ivan Shakespeare Memorial Dinners, which Mike Hodd would quite often join.

Thus Mike became a mentor in ways other than comedy. Indeed, in the correspondence following the above 2009 gathering, Random described him as Mike “MaHoddma” Ghandi.

Mike was exceptionally generous in his mentoring. When I mentioned in passing in late 2005 that Janie and I would be going to Ethiopia on holiday soon, Mike asked me if I had read Remote People by Evelyn Waugh, which at that time I had not. The next time I saw Mike, he slipped a copy into my hand.

Thanks to Mike, a proud possession which I read avidly then and at times dip into still

Another example – when I saw Mike after my own “economics plus” effort, The Price Of Fish, was published in 2011, Mike quietly commended the book and told me that he had bought multiple copies of it to give away to his friends.

Still available at all good bookshops…probably at bad bookshops too.

That was Mike.

Almost everyone who knew him reasonably well has a favourite anecdote about Mike, but there tends to be a common theme to those stories. Mike’s warmth, generosity, intelligence, sense of humour and ability to laugh at himself clearly shines through.

The last time I saw Mike was at that previously-mentioned Newsrevue 40th Anniversary event, at which he delivered a coupe of comedic pieces, including a stand-up routine making comedy out of his own Parkinson’s condition. Brave comedy, delivered without self pity and with supreme comedic timing. A fitting memory of Mike Hodd.

The Glow by Alistair McDowall, Royal Court Theatre, 5 February 2022

Our first visit to the theatre for quite a while. The Covid pandemic stopped us in our theatre-going tracks back in March 2020.

Indeed we nearly missed out on this one. I had booked for us to see a preview on 22 January, but the week before the Royal Court wrote to me saying they had to cancel the first few previews due to…you guessed it…Covid.

I called to see if we could get decent seats to see the play relatively early in the run. I spoke with a helpful-sounding Royal Courtier on the phone.

Now let’s see. You were booked in seats E9 & E10 for the preview…

…I can offer you E8 and E9 exactly two weeks later, the evening of 5 February.

Problem solved, I thought. But mischievously instead I said:

…but E8 & E9 is not the same thing as E9 & E10.

I heard a gulp at the other end of the phone, so I thought best to put the poor fellow out of his misery quickly.

…joking! Problem solved.

Ironically, as it turned out, no-one sat in E10 on the evening itself and someone rather tall was sitting in front of E8, so we did, in the end, occupy E9 & E10.

But that’s not so weird a story, whereas the play is a seriously weird story. Here’s the teaser:

Here’s a link to all of the on-line resources at The Royal Court website.

I thought the play was wonderful and awe-inspiring. A sort-of pastiche of scary folk tales and fables, a sort of exploration into perennial abuse of women through the ages and the meaning of autonomy.

Alistair McDowall’s plays are a bit like that. Janie and I both absolutely loved Pomona

…whereas The Glow split our jury, as had X – the other McDowall we had seen at the Royal Court some five years ago. Janie found elements of The Glow disturbing and was disconcerted by the extreme time-hopping involved.

Janie was not quite as disconcerted as the young woman who was sitting in front of us, who nearly jumped out of her skin at the coup de theatre that signalled the end of the first half of the play. The young lady told us after the play that she had recovered herself and enjoyed the play as a whole.

Kate Wyver in the Guardian gave the play/production a rave review.

As did Sam Marlowe in The i...

…and Sarah Crompton in WhatsOnStage.com

Whereas Nick Curtis in the Standard is less sure about it…

…and Lloyd Evans in The Spectator votes it “the worst production of all time”, which only supports my general view that the very best6 plays/productions to some extent at least divide the critics.

This search term – click here – will find you plenty more reviews, including those above.

My own praise for the fascinating play also extends to the superb cast. Ria Zmitrowicz was truly excellent in the lead, ably supported by Rakie Ayola, Fisayo Akinade and Tadhg Murphy. Vicky Featherstone sure knows how to direct and produce this sort of play – who knew?

Not the easiest watch for those easing their way out of the pandemic, but if you want to see a full tilt piece of spellbinding theatre, The Glow might well do the job for you. It certainly did so for me.

I

Rice by Michele Lee, Orange Tree Theatre, 30 October 2021

Philip Halling / The Orange Tree Theatre, Richmond

Rice at The Orange Tree Theatre was our first visit to the theatre to see a drama for more than 18 months. There’s been a lot of water under the bridge since then.

The last thing we saw, just before the first lockdown, was Not Quite Jerusalem at the Finborough:

The Orange Tree assured us in its marketing that the theatre is “See It Safely” approved, which no doubt it was. The problem with that level of biosecurity in a small theatre like The Orange Tree is that the safety removes much of the warmth, atmosphere and absence of fourth wall that theatre in the round is meant to provide.

It didn’t help that the weather has turned a bit colder on us – well it is autumn – to the extent that even extra layers of clothing and cushions neither made us feel warm nor comfortable while sitting for 90 minutes plus.

The play was not designed to make us feel comfortable of course – it grapples with relationships, inter-generational conflict, cultural conflicts and international commerce – in the hands of two performers, primarily as a two-hander play but each performer also covers several additional, smaller roles.

As we would expect at The Orange Tree, one of our favourite places, the quality of the acting, directing and production was very high. We have been impressed by Matthew Xia’s work as a director before, both at the Orange Tree and elsewhere.

But this complex piece/production did not really warm the cockles of our hearts, to encourage us to rush back to fringe theatre the way we visited regularly and avidly prior to the pandemic. We’ve booked one or two things for this autumn/winter – we might book one or two more .

We’ll keep our (many) memberships going of course – we are still great supporters but we’re just not in a rush to attend very often – not yet anyway.

Mixed reviews but mostly good ones – accessible through this link.

The Last Five Years by Jason Robert Brown, Garrick Theatre, Followed By Drinks With The White Crew, 14 October 2021

It’s Showtime!

I have an idea for a musical. It is called The Last Five Decades. The musical opens at the end of the story.

Writer, Ivan Hershey, optimistically sings, “Technically Speaking, You Are Not Really A Shiksa, Goddess”, while actress, Leylah Wasp, laments, “Still Kvetching”.

The story goes back in time more than forty years, until a finale, in which we see Leylah’s dad, Jim, in his youth, mournfully singing “Stereotype” at a meeting for budding college journalists. Jim imagines that he looks like Terry Hall from The Specials, but actually, as he is sporting a Spurs scarf and Doc Martens, Jim inadvertently projects the look of a right wing yob. Unaware that five decades of friendship are about to be launched, young Ivan tries to disconcert Jim by cheerfully belting out “Children Of The Wind” from Rags, evoking the intrepid spirit of refugee diaspora people everywhere.

But what do I know of musicals? Apart from the occasional foray into writing silly lyrics for spoof musicals, which doesn’t count…

…I have only (now) seen three live professional performances of musicals…

…and Lydia White has been in two of them. I went to Manchester to see Rags in 2019:

In many ways, going to the Garrick Theatre to see The Last Five Years felt a bit like going to a familiar but occasionally-visited city like Manchester. Although London is of course my home City and under normal circumstances Janie & I see stuff regularly, this was our first trip “up west” for more than 18 months. It was the first time I’d been on the Tube for more than 18 months.

Queues and sanitiser…

We did as we were told and got there early

Lockdown of course changed all our lives in a great many ways. One of those ways, for me, was that I started to take singing lessons from Lydia. My early music teacher, Ian Pittaway, says that her work with me has been utterly transformational and he means that in a good way. He even forgave her for blowing out my singing lesson last week, in order to fit in an additional rehearsal for The Last Five Years. Ian says I don’t need a note, Lydia.

The Garrick folk handed us this note

Was Lydia good in this show? Of course she was. Superb. She has tremendous stage presence to add to her technical abilities acting and singing.

Her opposite number for the afternoon, Lenny Turner, a debutante in this production, was excellent too.

In truth, Janie and I are really not musicals people, so the show itself is not to our taste. But we can appreciate a solidly professional and excellent production when we see one, which this most certainly was.

Janie and I found ourselves sitting quite close to “Lydia’s contingent”, with John, Mandy & Bella a couple of rows behind us; Mandy’s sister Mary & her husband Alan immediately behind us. Their daughters next to us…

…I probably hadn’t seen Mary & Alan since John & Mandy’s wedding more than 30 years ago. Nevertheless, Mary apparently spotted me immediately on arrival in the auditorium and told Alan that she had spotted me. So now I know; lying low for 30 years and wearing an FFP2 mask is insufficient disguise if I want to hide from Mandy’s kin.

After the show, we all gathered outside the theatre beside the stage door. As well as the above crowd, Angela (from those good old days) was there, as were a great many other people we were meeting for the first time; one of Mandy’s friends from Saffron Walden, Lydia’s boyfriend Jack, his family, plus many of Lydia’s friends and colleagues.

Janie had a long-standing engagement with her Samaritans cohort that evening, so had pre-warned us that she wouldn’t be able to stay for drinks; she left us about half an hour after the show, at which point we were still waiting for Lydia to emerge through the stage door. I wonder whether we looked like a bunch of groupies? Who cares.

Soon enough, Lydia did emerge to enjoy a further rapturous greeting and we soon set off for Koha in St Martins Court.

The fortunes smiled on us. The weather was mild and dry. Koha seemed able to provide us with as much seating outside as we needed to imbibe and chat at length. A couple of hours simply flew by, before we all went our separate ways.

But the main purpose of the day had been to support Lydia’s performance in the Last Five Years. It really was a delight to see her performing so well and so thrilled at the end of the day with how well it had all gone.

Borrowed from Lydia’s Twitter account.

Not Quite Jerusalem by Paul Kember, Finborough Theatre, 13 March 2020

Read all about it on the Finborough site by clicking this image.

Janie and I really enjoyed this evening at the Finborough. We do like that place; it consistently puts on good stuff in a small space. Not Quite Jerusalem is no exception; indeed one of the best things we’ve seen at the Finborough and one of the best things we’ve seen this year.

I was looking out for this Finborough slot late in 2019, when I met the director, Peter Kavanagh at Gaslight.

Peter told me that he was scheduled to do a Finborough 40th anniversary production in March 2020 but he didn’t yet know what the play would be.

When I discovered that he had chosen Not Quite Jerusalem I was intrigued to see it. I vaguely remembered that this play came out around the time that I ended up trying to sort out some kibbutz sh*t back in my BBYO days; 1980.

Anyway, Janie seemed keen on the Not Quite Jerusalem scenario so I booked for us both to see it. She’s now very glad she’s seen it, as am I.

It is a funny play but the themes of youthful hopelessness and closed-mindedness in England seem as relevant today as they probably did 40 years ago.

Here is a link to some reviews of the original 1980 production.

There’s an interesting interview by Judi Herman of Jewish Renaissance with Peter Kavanagh about the play and in particular this production of the play – click here.

This production is well cast, with each of the characters playing their role well. Joe McArdle, as the chavvy Yorkshire lad, shows his versatility as an actor; he was the “big reveal detective” in Gaslight – a very different role. Russell Bentley and Alisa Joy both did well as the sabra Israelis; prickly and softening believably and with credible accents too. Ryan Whittle, Miranda Braun and Ronnie York were all suitably irritating as the bright drifter, the damaged female and the uber-chavvy lad from Harlow, respectively.

I had been looking forward to discussing the Harlow chav with John White – he of Harlow- the next day, but our meet up with John and Mandy was cancelled for Covid-19 reasons.

But I digress.

Not Quite Jerusalem is not a great play, but there are lots of interesting elements in it and it hangs together very well as a story. Peter Kavanagh’s production is a thoroughly entertaining evening in the theatre.

The reviews have mostly been very good – deservedly – click here.

Highly recommended.

The Haystack by Al Blyth, Hampstead Theatre, 7 March 2020

For some unknown reason, we didn’t book this when it first came out. I think Janie was on a bit of a “let’s be more selective about what we see” spree at the time and at a glance I thought this play might be a bit geeky and not to her taste.

But I was wrong and I’m so glad we had the opportunity to put matters right before the end of The Haystack’s run.

Below is the short trailer vid:

If it looks like a bit of a thriller, that’s because it is a bit of a thriller. Also, the subject matter is, technically, very geeky indeed. Yet the topic; the use of technology for surveillance in our culture, is covered in a fascinating, human-interest story way. The geeky elements are covered well, but also in a way that ordinary folk can understand and relate to. Trust me, if Janie comes out of seeing a play saying that, it has done a very good job.

Here is a link to the Hampstead Theatre resources on this one.

Ironically, those resources, including the programme, enabled us to place the writer, Al Blyth, under surveillance. Janie and I deployed our sophisticated facial recognition systems (otherwise known as our eyes) to spot Al Blyth in the audience that night…sitting next to us. Fiendish we are.

Janie nearly blew our cover by engaging him in polite conversation, but thought better of it, not least because he seemed quite engrossed with his own guests.

Proof positive though, if such proof were needed, that I know how to choose good seats at The Hampstead.

Meanwhile, the play and this production of it were cracking good. Really, really good. This is the first piece we have seen Roxana Silbert direct for some time; if it indicates the quality she is going to bring to The Hampstead in her role as Artistic Director, her appointment is seriously good news for one of our favourite places.

The play is called The Haystack because looking for lone wolf security threat types is like looking for a needle in a haystack…or is it, if you have a plethora of machine learning and surveillance tools at your disposal? Further, if you deploy those tools and techniques, are you in danger of turning the society you are trying to preserve into the very type of society you are trying to avoid?

The acting was all very good, with special mentions to Oliver Johnstone & Rona Morison as the central pair plus Sarah Woodward as a believably creepy spook.

It has been very well received as a production – click here (or look within the Hampstead resource above) for reviews – it deserves a West End transfer and I hope it gets one.

The Mikvah Project by Josh Azouz, Orange Tree Theatre, 29 February 2020

A mikvah (or mikveh) is a Jewish ritual bath (the picture above is a modern example).

It is rather an orthodox thing and mostly a female thing, so, in truth, I’ve not had much truck with mikv’ot (mikvah, plural) personally. I do remember my father saying that he wanted to apply for the job of lifeguard when they opened a mikvah in Streatham, but he was joking and I am digressing.

The closest I’ve got to actually dipping in a mikvah-like manner personally was my visit to the Fukinomori onsen bath in Japan 18 months or so ago:

Now I am digressing even further.

The Mikvah Project is a cute short play which Janie and I enjoyed very much.

Here is a link to The Orange Tree resource on this production.

The Orange Tree team has made an excellent short video explaining the play, embedded below:

It had a short run at the Orange Tree’s Director Festival 2019, which was very well received by the reviewers, but not seen by many people, so the Orange Tree has, wisely, brought the piece back for a full run with a proper set, including a “bad boy of a pseudo-mikvah” on stage.

Janie and I were both really impressed by the writing, the production and the directing. The performances of both Alex Waldmann & Josh Zare were top rate.

At one level it is a slight piece. Just over an hour; a simple and somewhat predictable plot. It made me think of My Beautiful Laundrette, but without the heavy political and inter-racial overtones.

Yet the play works extremely well. It is a charming piece that shows two young men in semi-detached North-West London suburbia who are semi-detached from their roots and from the expectations their community places upon them.

Janie and I like short plays of this kind; entertaining, thought-provoking and well-produced. Another big tick in the box for The Orange Tree.

If you are reading this during March 2020, we recommend that you go and see this piece; it runs at the Orange Tree until 28 March.

Four Courts In 25 Hours; Boston Manor Centre Court, Lord’s Real Tennis Court, Royal Court Theatre & Boston Manor Court One, 8 & 9 February 2020

Saturday 8 Feburary, Janie and I went to Boston Manor for an early game of lawn tennis. It was a bit chilly but the sun was shining and the weather was set dreadful for the next couple of days.

So although I was due on court for a real tennis match that afternoon, we both needed some exercise and both fancied some of the outdoor variety.

We had a good game. I thought I played well and hoped my timing would be as good that afternoon as it had been that morning. In the end I think it was.

A quick scrub up and then off to Lord’s in Dumbo for the MCC v Dedanists match.

Parking Up Dumbo…Outside Moreton Morrell in this photo as it happens

The MCC v Dedanists match has been reported extensively on the Dedanists Society and MCC websites. Your truly has written the report. Here is a link to the Dedanists’ Society site.

Here is a link to a scrape of the report on The Dedanists’ site, which might be easier for you once my report is no longer headline news.

Here are some pictures. First up, the Captains:

Carl Snitcher in “thinker” pose
Sam Leigh keeping an eye on the guests, no doubt

Below are some of the spectators, rapt with attention, hanging on every shot:

Here’s me, John Thirlwell and my partner Martin Village (grabbing a coffee) as we came off court.

Here’s a link to all the stills that Janie took that day:

Janie took a few video clips, the first of which illustrates the famous Harris serve followed by the infamous Harris grunt…

…this next one shows some relatively classy play by our standards…

…and this next one includes my incisive calling, an all-time favourite string, “switch…up yours…well played”:

For the uninitiated, the phrase “up yours” is not a petulant expletive in the direction of one’s partner. Heaven forbid. “Up” indicates that the ball will land on the penthouse above the dedans gallery, thus telling one’s partner that there is no need to volley. “Yours” means that the ball, once it descends, is for one’s partner to play.

Considering that Martin and I had never even seen each other play before, let alone played together, I thought we got a lot more of that sort of stuff right than might have been expected.

I have scraped CCTV video evidence of the match highlights from all five of the rubbers, which can be seen in silence but glorious colour, through the following embedded links. We join Tony Friend & Paul Cattermull v Yuri Kugler & Julian Sheraton Davis in the second set with the score at 4-4:

We join Sam Leigh & Simon Martin v Simon Webster & Rodger Davis in the second set with the score at 3-3.

We join Giles Stogdon & Carl Snitcher v James McDermott & David Enticknap in the second set with the score at 2-3.

We join Peter Dean & Giles Pemberton v Johnny Saunders & Linda Sheraton Davis towards the end of the first set with the score at 4-4.

If you are a truly in search of passing some time (nearly an hour), you can watch both sets of the Sebastian Wood & John Thirlwell v Ian Harris & Martin Village match below.

As if that wasn’t enough drama for one day, Janie and I went on to the Royal Court to see All Of It after Lord’s. It was a wonderful 45 minutes of theatre, reported on here and below:

On Sunday morning the wind was howling at 40 mph plus and the weather forecast looked increasingly terrible. But the rain didn’t start first thing and Accuweather suggested that it wouldn’t rain until 11:00, so we decided to brave our regular 10:00 slot.

Just a little bit crazy – picture from some daftness a few years ago

Strangely, there was no-one else around in the park, apart from Linda Massey who was battening down the hatches of the pavilion.

Linda briefly came across to the tennis courts to tell us:

Ok, I am now officially declaring that you two are mad.

Strangely, once we got used to the wind, we had an exhilarating, fun although not exactly classic, game of lawners.

We played on Court One on Sunday, whereas we had played on Court Two (Centre Court) on Saturday. So those two, plus the Lord’s real tennis court and the Royal Court theatre add up to four courts in 25 hours.

Don’t tell Linda Massey, but we went back to Boston Manor Park again on Monday morning in similar weather – again no-one else around – and had another game of lawners. We’re not mad…we’re just a bit mad on tennis.

Tennis

All Of It by Alistair McDowall, Royal Court Theatre, 8 February 2020

Oh gosh yes we loved this short play.

On the back of a busy but fun day…

…we wondered whether we’d done the right thing booking this – especially as the Royal Court rubric on the piece was vague, even by Royal Court vague rubric standards. Click here for a link to the unhelpful material.

The little videos in the Royal Court information resource on this production really do not do justice to the piece or to the production’s creators.

I had booked this production because we had been so impressed by Alistair McDowall’s writing, especially Pomona at the Orange Tree a few years ago:

We’d also been impressed by Kate O’Flynn when we’d seen her perform.

This production of All Of It is only running for eight performances over the next few days, so change your plans, beg the Royal Court to find you a ticket, do anything to get to see it. It is 45 minutes of theatrical delight.

Actually, it is 42-43 minutes of theatrical delight. For the first two or three minutes we were both thinking, “oh-oh”, until we realised what was going on and how the piece was going to unfold.

Then we could relax and enjoy a virtuoso performance of a rather brilliant piece of writing.

The piece is basically a short, lyrical monologue about an ordinary woman’s life. All of it.

Just take our advice and get to see it, but you’ll have to be quick. If you miss the next few days, start nagging the Royal Court to transfer it or put it on again because this production really deserves to be seen by lots of people and should give pleasure to far more people than eight-Royal-Court-houses.

Me, just before I’d seen All Of It

Persona by Ingmar Bergman, Riverside Studios, 25 January 2020

We feel as though we have been waiting for ever to see the opening of the new Riverside Studios.

Word reached us in the autumn that the venue had opened for food and drink, so we looked it up to discover that the first theatrical production was to be a stage adaptation of Ingmar Bergman’s astonishing movie Persona.

Ingmar Bergman – one of my heroes

I don’t do heroes much, but I make a few exceptions and Ingmar Bergman is one of those exceptions. I love most of his films. Apart from the occasional lemon, such as All These Women, which I am prepared to accept is a lemon.

Persona is a bit of a “marmite” movie – some people consider it to be a masterpiece, others dislike it intensely. I have always rated it highly as a movie – not his best but a very interesting piece.

The idea of it as a stage piece intrigued me…and Janie, who does not rate the movie as highly as I do.

Below is a preview video for the Riverside production, which explains how they transformed the piece from a film script and other archival material into the performance piece we saw:

I believe we saw a preview, just a few days into the run. Janie and I very much enjoyed the production. We both thought it worked well on the stage – possibly better on stage than it does as a film.

This version is sort-of narrated by an imaginary film professor (portrayed by Paul Schoolman) who finds himself sick with pneumonia in the very hospital in which Bergman wrote Persona. This fictional character metaphorically unspools the film into a stage piece.

One other excellent feature of this production is the musical instrument the Earth Harp, a huge installation which sits in one corner of the stage and splays out from there above the audience, dominating much of the studio space. It was performed by its inventor William Close.

It is hard to get a true sense from the video below of how this instrument sounds and vibrates through your body in a live performance, but you’ll get a nice tune and a bit of an idea:

Anyway, the performances were all very good and we were gripped by the piece.

We sensed that some of the audience were bowled over by it, others less so. I don’t suppose this production will be quite as marmite as the original film, but I expect it will divide audiences and critics.

Reviews, if/when they come, will be findable through this link.

We thought it was an excellent start for the revived venue. Slightly less excellent is the cold feel of the expanded, large space that is the venue as a whole. Early days of course and work in progress, naturally. But having dispensed with the shabby chic look of the old place, the Riverside crowd need to start developing some character to the space.

The large colourful paintings helped a bit, but with price tags in the thousands, it felt like a shout out to wealthy West London media types and a bit off-putting to us shabby chic returnees and/or to locals who might have been hoping for enhanced community space for real people.

But go judge for yourselves if you are able – you can see Persona at The Riverside until 23 February 2020. We recommend it.