Monday, January 15, 2018

shows, faces, words, wildlife, and a dilemma for Frome

Black Swan Arts current exhibition is Face to Face, paintings and drawings by Oliver Bedeman, which has been widely enjoyed. I loved every piece ~ tenderness without sentimentality, life-style insights without ever seeming clichéd. Most of the titles reference song lyrics but the pictures aren't labelled so when you look in the catalogue your first impression becomes illuminated and extended. The boy with gun is a Southern Man, wondering maybe how long, how long...  the young man on the train is a Nature Boy, travelling very far, very far to learn the truth about love...
Another excellent writing workshop from Louise Green for the growing group participating in Words at the Black Swan brought extra dimension to our responses by inviting us to write pieces that explore these resonances. Here's mine:
Urban Scrawl
I see you face to face in this abandoned site, your trail 
of challenges in skull-white smiles and broken glassy eyes
your watchful burning tower blocks tagged with flourish of defiance
your celebration of dystopia, private army of grotesques;
fantastic fiendish friends, their cacophony of questions
unanswered in the silence of stubborn Saxonvale.
As a footnote, Black Swan Arts complex is currently being unified which hopefully will be good news for visitors of this vibrant resource. The assurance is that jobs are safe and in future "The cafe will be at the heart of everything we do."

First meeting of the year for Frome Writers Collective, held as always at Three Swans, featured an excellent talk by Peter Clark on the value and practice of writing a regular diary.  Peter has travelled all over the world with on British Council business and literary missions but he's far more disciplined than me and confines himself to 300-400 words a day: he reckons he's clocked in over six million words over the years, which will be material for quite a few books.  So far his Damascus Diaries and his Emirates Diaries have both been published. His talk was entertaining as well as informative: Peter refers to his raw diary as 'a blend of malice, self-pity and narcissism' and confesses the final books, while extensively edited, are still 'indiscreet.' Witty reminiscence and top tips for writers, another excellent FWC evening.

De Hepe's splendid emporium on Bath Street ~  in the local news last year for responding to aesthetic trolling by putting it in the window for the entertainment of passers-by ~ is owned as you would expect by a genial & flamboyant individual. Robin Cowley isn't naturally a small-town dweller, but he's as passionate about Frome as, well, as I am. His current concern is a very real issue, and after we talked I suggested that this blog might be a small start to wider awareness, and Robin agreed. This is his point: When Frome was down on its uppers it was individuals taking the challenge offered on Catherine Hill that provided the impetus for the change we needed. And now that that’s all come to fruition, other people are taking advantage of it by raising rents, and actually it’s penalising the very people that did the planting of the seeds in the first place. And I think that the landlords have a responsibility. I don’t begrudge anybody taking advantage of the popularity and the rebirth of the town but we need to remember why Frome is popular now.  And it’s not because of massive input from multinationals or even the District Council, so we need to remember our roots.
A serious point, which the council as well as anxious tenants will realise: combine this with rising house prices which will drive out many of the next generation ~ even if they'd intended to work in a family business that won't otherwise survive ~ Frome in the future may no longer be a popular hive of small independents and idiocyncratic self-confident style. Well, it's happened before... I refer you to Cobbett in his Rural Rambles nearly 200 years ago, on a return visit to Frome which he'd last seen when it was busy and affluent, finding destitution among the cloth workers: "Yes, these men have ground down into powder those who were earning them their fortunes: let the grinders themselves now be ground, and, according to the usual wise and just course of Providence, let them be crushed by the system which they have delighted in..."

After missing press night due to December's lurgie, I finally caught up with Beauty and the Beast at Tobacco Factory too late to recommend it, though it'll be in my column for Plays International, because it's now sold out until the end of the run. And so it should be. This delightful co-production with N.I.E directed by Alex Byrne represents the triumph of simplicity over flamboyance, with a cast of six talented actor-musicians and no gimmicks, just the magic of storytelling and song creating a fairytale drama to satisfy all ages. With only a flutter of leaves and occasional props, the scene shifts back and forth from castle to forest hovel (le gîte terrible, as we are in France) where newly impoverished merchant Maurice is attempting to relocate his horrendous twins, aided by beautiful Isabella, non-avaricious misfit of the trio. Most of the comedy is inventively created by the appalling sisters, played by Samantha Sutherland and Elliot Davis, who can't grasp the concept of 'poor' - they can't pronounce it actually, rhyming it with 'Mwah!' which is the sort of sound they're more used to.
Roles follow the fairytale mostly, but this is a feisty Beauty who chooses to confront the Beast herself. Act 2 abandons tradition too, following (with much audience consultation) the besotted Beast's attempts at wooing, on top of a table in Mad Hatter chaos of chocolate mousse, terrible jokes, and wild dancing. It's all going quite well until Beauty realises Maurice is ill and dashes home for a dad-snatch in a wheel-barrow. The ending is a mix of classic and original too, with a touching moment of transformative love, but also a kind of Thelma-and-Louise-gone-very-wrong finale for the wicked sisters.  So I'm sorry you've misssed it, all I can say is, look out for the next NIE production, and for anything anywhere where Elliot Davis is performing. Especially in a frock. And look out too for other developments at Tobacco Factory Theatres.

From devised to revived:
I've been a massive fan of Stephen Mangan since The Hunt for Tony Blair, avidly watching every episode of Episodes and, as a writer for stage, I'm obviously in awe of Harold Pinter, so when I saw The Birthday Party was celebrating its own 60th birthday at the actual Harold Pinter Theatre, I promptly booked. I like my Pinter plain: I fretted over BOV's explosive version of The Caretaker last year, and was quite happy there were no distractions from the dense perplexity of Pinter's belief that 'the more acute the experience, the less articulate its expression.' We're not really supposed to understand, the programme explains, any more than we really understand life.
The story starts like a sit-com in the boarding house of a stoic husband and his dim ditzy wife ~ Peter Wight and Zoë Wannamaker excellent in these roles ~ which has only one resident: Stanley, who might or might not have been a pianist, but he's not doing anything now, until two men arrive, who might or might not be Dumb-Waiter-style thugs, and the mood changes to menace. Stephen Mangan is electric in the role of dominant Goldberg, with good support from Tom Vaughan-Lawlor as McCann. They arrange an unwanted party for Stanley ("This isn't my birthday!"). Strange and sad things happen. Stanley might or might not know why, and as audience we are left with our own assumptions. I didn't think Toby Jones was quite compelling enough in the role of enigmatic victim, but that might come from direction. With a big stage it's hard to create tension as you don't get a real sense of menace when everyone's spaced out, and perhaps Ian Rickson aimed to keep that feeling of nearly normal life, just a bit weirdly messed up.  He did that well. I don't think I'll ever forget Goldberg's quiet, babylike, request Blow in my mouth....

And now for something completely different: a walk round Rodden Nature Reserve on Sunday morning, with about sixty other enthusiasts, organised by the Mendip branch of Somerset Wildlife Trust and led by Eve Tigwell, who pitched it perfectly for our motley crew, some experienced bird-spotters, bat-supporters and otter-counters, some tabula rasa like the toddler who toddled enthusiastically ahead, and some in the middle like me, enthralled by Frome's very own nature reserve. With hundreds of wildlife residents and thousands of visitors, this is a real gem and it's right outside Asda so you can just park and stride! but you only have two weeks before the breeding season means a lengthy closure till the autumn.
Back to work now, it's been fun sharing. As Blaise Pascal said, I would like to have written it shorter but I didn't have the time.



2 comments:

Viv Meadows said...

Thanks Cyresse, informative blog. Covering everything but jazz. Great to hear your positive comments re the Oliver Bedeman exhibition at the Black Swan, the colours create a sense of mystery which is wonderful, especially as many of his characters are appropriated from passengers on the Tube. The Black swan relies heavily on volunteers like myself and it's a pleasant occupation to look after the gallery for a few hours.
Gosh Harold Pinter 60 years since the birthday party was launched! At Nottingham playhouse I was brought up on Pinter in my teenage years, in John Neville's tenure, looks like I didn't quite see the 1st production!

Crysse said...

Thanks Viv - you're right, a deficit of music this post. I'll hope to amend this in future. The first production of the Birthday Party was reviled by most critics, booed by some audiences, and closed after only a few performances. Harold Hobson championed the play as absorbing and witty, with fascinating characters. He wrote "Now I am well aware that Mr Pinter's play received extremely bad notices last Tuesday morning. Deliberately, I am willing to risk whatever reputation I have as a judge of plays by saying that The Birthday Party is not a Fourth, not even a Second, but a First; and that Pinter, on the evidence of his work, possesses the most original, disturbing and arresting talent in theatrical London."