Blank Holiday Monday

I didn't realise until it was mentioned on BBC Breakfast this morning that today was a Bank Holiday Monday. As the lockdown has continued, as I've mentioned before in these blog posts, each day seems to merge into one another and it's virtually impossible to know even which day of the week it is, let alone whether it's a public holiday. But, as I write, it's bright and sunny. Ironic, come to think of it, because of the fact we're supposed to stay at home and go nowhere. Under 'normal' circumstances it would probably be pouring with rain and we'd be sitting at home! As it is, I don't see this continuing much longer. I just feel really sorry for those businesses which rely on the weather to be pleasant so that the get customers, for example, beauty spots, National Trust and English Heritage properties which rely on visitors to survive.

Later. Really hot and sticky in the flat, even with the windows open.
Labour are real hypocrites regarding the Dominic Cummings affair because at least four of their MPs have disregarded the social distancing regulations, but we don't hear anything about that on the BBC or other mainstream media. Neither does the newly installed leader, Keir Starmer, make any comment about that or at least sack these shadow ministers. They include: Tahir Ali, MP for Birmingham Green who attended a funeral;  Vaughan Gething, MP and shadow Health Minister; Stephen Kinnock, MP for County Durham and Kevan Jones, MP who attended a birthday party.  Disgraceful. Dominic Cummings clearly  made a mistake, but he is now being hounded mercilessly and they want his head on a block. So what's the difference? There is none. Now leave it alone and lets get on with getting through the pandemic and returning life as near as possible to normal.

Later. I am currently reading 'Treasure Island' by Robert Louis Stevenson. I may have mentioned that we were developing a piece of theatre based on this book as part of the drama workshop at Camphill. (which is where I would be today if it wasn't for the pandemic lockdown.) It's a terrific, old-fashioned boys adventure, but knowing about diversity and political correctness, I don't expect you're allowed to say that these days. As part of the development of the Camphill project, we first watched a rather ancient film version with Orson Welles at Long John Silver, and the idea was that we didn't create a direct adaptation of the novel, but the group would come up with their own ideas for the play (and including support staff, myself included.) and from that a script would be created. I have since watched the National Theatre production which was shown a few weeks ago as part of the 'The Show Must Go On' project, where this production was free to view on YouTube. I loved the set, which was spectacular and utilised the drum revolve which is in the stage of the Olivier Theatre. The over-all atmosphere created by the design of the set, costumes, music and the way it was presented was brilliant, but I'm not so over enthusiastic about the adaptation which seemed to take out any sense of conflict or danger. But they did manage to avoid all the cliches, such as Long John Silver, probably inspired by the 1950's Disney version which had Robert Newton in the iconic central role. It casts a long shadow over any later adaptation. The original novel is feisty and full of danger and has to be one of the best 'boy's adventure' novels ever written and has to be the blueprint for later novels, such as 'The Thirty-Nine Steps' and many other stories.

Wednesday. I've been intrigued to know what the silver, canister-style objects are which have been thrown all over the ground in the carpark right next to Oldbrook Green as I have been walking Alfie around during our daily outings. I put a message on Next-door and immediately got an answer. They are containers for nitrous oxide and actually used in catering equipment, such as cream charges, but the contents used by people who get a 'buzz' out of inhaling this substance, much the same as glue-sniffers, as they get a 'high' from it, a light-headedness. Empty, the containers are not dangerous, but it's the littering that's unnecessary. As I've said in earlier posts, the litter around the estate is getting worse and worse. I can't all be down to the effects on the lockdown. People are just lazy when there are adequate rubbish bins dotted around Oldbrook Green. Later I noticed that these silver objects (canisters for want of a better word) had disappeared so it would appear someone has taken notice of my mentioning them on Next-door.

Just Another Day

The lockdown continues. It looks as if it's likely to continue, at least until they have the infection under control, but as I write this on Wednesday, it doesn't seem likely. The three weeks of lockdown expires tomorrow (Thursday), so by the time I have finished writing this post, we might hear something to the contrary, but it seems unlikely. At what point does the number of people who have contracted the coronavirus peak, and the  daily number of deaths begin to fall?

It is sunny as I write. It's actually quite bright as I write this at 1.07p.m. on Wednesday April 15th. I have done more work on my writing project, but somehow I have made a bit of a mess of the pasting of a new sequence and now I can't print out the entire document, which runs to over 30 pages. I had begun to print it off, but part way through the ink showed signs of fading and it was clear it was actually running out, so I will just have to abandon that idea until I can order new ink cartridges, probably on line as I can't get to a shop because of social distancing and anyway it can wait as it's not all that important.

I've continued to transcribe more of my written material onto my computers. I have been using the dictation mode on the iPad which I have mentioned in an earlier post on here. It is definitely a good deal quicker than using the keyboard, but there are some problems, as some words don't come up as they should, at times with quite comical results. I wanted to write a line which said 'he had pustules all over his face,' but the iPad wrote 'pastles,' which definitely changes the meaning of the sentence. Another, referring to chickens roosting in trees, misunderstood (if a computer system can misunderstand.) and wrote 'roasted.' It's the idea of having chickens roasting in the trees which made it hilarious. Never mind. I can easily go through the piece of writing and correct it, one of the major advantages of word processing.

(Friday) Alfie has been whittling all day to go for a walk. I think he's probably as fed up with being stuck in the flat because of lockdown as much as I am. We were out by 6.45 this morning and then about 9.15. I was determined to watch the National Theatre's production of 'Treasure Island' which is currently being streamed free on YouTube, following the production of 'One Man Two Guvnors.' It was good up to a point, they managed to avoid the usual clichés that usually go with anything related, such as a corny 'yo-ho-ho' accent and the Robert Newton voice, sort of 'aye! Jim Lad!' etc etc. Jim was a girl (from Jemima. I did wonder about how they would deal with that.) No problem with that. But the best part of the show was the set, which fills the Olivier Theatre stage (which is vast) and utilises the amazing drum revolves (a bit difficult to describe here, but it allows for very quick scene changes, not only revolving, but the centre can disappear down five stories and allow scene changes to be done. Quite spectacular and it gets a round of applause, allowing us to see a sort of cut-throughs section of the Hispaniola, the sailing ship which takes the crew along with Jim, Squire Tralawney and Doctor Livesey (also played by a woman) to Treasure Island. But the show doesn't come off entirely convincingly. Long John Silver isn't scary or villainous enough. And there isn't much of a feeling of conflict after the pirates mutiny on the way to the island. The pirates are given plenty to do and are differentiated nicely but the ending is a bit vague. When the treasure is eventually discovered, it just fizzles out and doesn't have a very conclusive ending but it's a good entertaining piece, but would be quite scary for some children, as it was intended as a children's play, done as a Christmas production in a similar way 'War Horse' was in a few years ago.

Stranger Danger And Other Dramas

On Tuesday I went to Camphill as usual. I'm now there all day so I'm better able to join in more with the students. They seem to like having me with them. Really enjoy our relationships. They are such a lovely group and to think so many of them have problems with communication, speech and probably the biggest one, confidence. There is an extra supporter who has been working on Camphill's care bank, which is a similar system for staff to do shifts whenever permanent staff go on leave. Also, a young girl who is doing a placement from university and she was given a tour of the theatre. She is doing a creative writing degree so she should be very helpful with the writing of the next project, based loosely (and I mean loosely!) soon 'Treasure Island'. During the morning the students did more work on the lines for the 'Stranger Danger: Three Little Pigs' play. The group was divided into two groups, some working in the theatre and the rest either downstairs in 'The Crypt,' or in the foyer area.

Jeremy, who has been videoing the Stranger Danger: Three Little Pigs' project, came in with DVDs and Memory Sticks on which the completed video had been put. These were handed out at tea break.

After lunch, which I had in the Camphill café, (a lovely atmosphere in there. Must be extremely popular because it gets quite busy at lunchtime.) we began working on developing the next project, which, as I've mentioned in an earlier blog post, is to be based on Treasure Island. We were split into two groups and sat around a table and each of us had to come up with a line for the narrator of the ply to speak, making it as imaginative as possible and building up the dialogue. Some really amazing ideas came out of this. A really brilliant way to workshop and devise a storyline. Almost like the traditional part game of Consequences, which I very much remember playing as a child. So where next with this new project? Keep coming back to my blog to find out!

(Wednesday) I've got rid of the old, broken plastic drawers from the fridge/freezer. I took them to the tidy-tip at Bleak Hall. That is one job done from my 'to-do' list. I am now waiting to hear from someone from church who is going to cut the grass (I refuse to refer to it as a 'lawn.') It's tough old grass which I can't cut myself. The electric hover mower wouldn't manage to cut it, it's not designed to cut such tough grass. The grass has got so long Alfie almost gets lost in it! He looks like a lion or a tiger in the grass in Africa or India or some such similar. It's also seeding, which means it it's not cut soon it will be virtually impossible to mow.

(Thursday) I was looking forward to my theatre trip to see 'Les Miserables.' My ticket had been booked for quite some while now. I really couldn't miss the chance to see it again. I saw the original London production at the Palace Theatre, probably only a couple of years after it transferred from the Barbican where it was staged in association with the Royal Shakespeare Company and directed by Trevor Nunn. I drove in to park near the XCape and walked through to the theatre and waited outside briefly because I got there at around 2 o'clock and the show didn't start until 2.30. I was making sure I wasn't late! I wasn't going to be. I waited by Door 5 on the first floor of the theatre. I had a seat in the Circle. Thank goodness I hadn't got a seat in the next layer of seats up. Carol and I had gone to see a production of Guys and Dolls and had seats in that area and it wasn't a good place to sit because you got a really awful view of the stage and it felt really cut off from what was going on on stage. You couldn't see everything. I found my seat, Row A, Seat 5. A good view of the stage. An excellent view of the stage. I love the buzz of a pre-show audience. The expectation of what's about to come. I've always had this since I was a child, probably from my first experience of 'live' theatre, being taken to see 'Peter Pan' by Sister Watson, a lady with whom my mother nursed before she was married. It was a regular production, at the Scala Theatre, it was on every year for years and years. I recall the flying. How was it achieved? I know, the actors were on wires, a sort of counterweight system, with pulleys and they wear a special harness under their costumes. Must be painful. Done by an outfit called Kirby's Flying Ballet.  Can't imagine what it would be like. Peter, played traditionally by a girl. The scene on board Captain Hook's ship, the fight with Peter. Loud explosions of cannons. I was hooked on the whole thing. And having tea, on a tray, in the auditorium, during the interval. They don't do that any more. Probably against our old enemy, Health and Safety. Goodness, sitting with a tray of BOILING WATER! Not possible now. Anyway, I digress. I think it's definitely the excitement of waiting for the show to start. I know the pressures on the actors and stage management, because I've worked as an Assistant Stage Manager and Deputy Stage Manager, have sourced and set props, operated the sound desk, moved props and scenery and, most important of all, run the prompt corner, done 'The Book,' prompted when actors fluff their lines, and generally run plays from that position.

As you face the stage, before the show starts, there is a curtain. I'm not sure whether it's what they call a scrim, made of a material which is transparent and when it's lit from behind, a bit like a lace curtain, you can see what's beyond, the actors and the scenery. When the lights are off and the stage is in darkness, then it appears solid. It can be painted as any other stage cloth. It was this that you see at the beginning of the show, with the words 'Les Miserables' in a sort of hand-written style, and the name 'Victor Hugo' at the bottom (the author of the novel which the show is based on.)

The sets for this production are not by John Napier who did the original Barbican, RSC co-created production, which I recall had a revolving stage and the two sections which became the barricade came of from either side of the stage and became other locations. This production had large doors which opened and closed for various scenes and the wing-pieces had doors and windows in them on several levels and other scenes were achieved with sections of scenery which slid on and off and a sort of 'track'across the stage which allowed pieces of furniture to move and be set in position. There was much use of what I assume was digital projection, but I couldn't work out where the projectors wee for these sequences. Very clever use and achieved very quick scene changes. Much impressed by the sound engineering. It must be extremely difficult to balance the singer's on stage with the orchestra in the pit. You could hear almost all the words the actors/singers sang and then have each actor with those tiny microphones taped or otherwise attached to their faces or in their hair which you couldn't see, thankfully. I've seen shows where there is absolutely no attempt to hide these things. It just goes to show it must be done. And then they'd have to hide the radio transmitter unit under costumes and also the engineers would have to balance the singing voice with the orchestra. All extremely well done and not interfering with the enjoyment of the show.