Brief encounters

The festive season can mean so many things – connecting with family and friends, enjoying good company and good food, reflecting on the birth of our saviour, singing seasonal songs and filling up endless recycling bags with brightly coloured paper.  This year, it included a small dose of strangers on trains.

I don’t drive, and am unlikely ever to do so, as the thought frankly terrifies me.  Thus, I tend to rely on the great British public transport system to get me from A to B when B is not within walking distance of A.  Thankfully, Kent is blessed with a decent (though not always timely) bus network, meaning that I can zoom around the county to rehearsals and performances with relatively little difficulty.  Longer distances tend to mean the train, largely because the Victoria Bus Station makes me want to cry.  This year, I made a few train journeys during the twelve days of Christmas, and had two very different encounters as I did so.

My first rail trip was to Malvern in Worcestershire, where I watched Jack and the Beanstalk, a pantomime starring Colin Baker and, more importantly, with musical direction by a good friend of mine.  I was travelling from Buckinghamshire, and the journey there was absolutely fine, despite dire warnings of heavy snowfall across most of the country.  The panto was highly enjoyable with liberal sprinklings of traditional cheesiness, fun and talent.  After spending some time with my friend, I had to head back to the station in order to make it home.  Unfortunately, fate was not on my side.  As I waited, there was an announcement to say that the next train to Birmingham was cancelled due to an incident on the line.  This, I thought, was a shame, but I would happily wait for the next one while reading Terry Pratchett’s musings on cats.  Unfortunately, the next train was cancelled as well and before long I had been sitting in the cold on the station platform for an hour and a half.  As the young people say today, sad times.

As I looked to find out when the next train might possibly be, I was rescued.  A young man asked how long I’d been waiting, as he’d also been trying to get away, but had not spent the intervening time sitting on the platform.  Informing me that there was a pub nearby, he suggested we adjourn there in order to keep warm while the next train decided whether or not it was going to make the journey from Hereford to Birmingham.  We were soon chatting, and I learned that he (Sam) was studying electrical engineering at a university which I had applied to back in the twentieth century when I was beginning my studies.  We passed a pleasant hour and a half or so listening to the pub quiz and wondering why it concentrated so much on popular culture.  We didn’t have a great deal in common, but it was a companionable time which proved that it really is possible for British people to break through their reserve, even if only briefly.  My social skills are ‘interesting’, so conversation was filled with as many pauses as it was with content (I suspect I may have reinforced various librarian stereotypes), but it was wonderful to make an unexpected connection with someone I will probably never see again.  Thankfully, the next train did run, and we were both very happy to get on board.  We parted ways at University station, and I was extremely grateful for his intervention in my life – without him, I’d have been sitting in the cold, alone, for nearly three hours.

My second brief encounter was much briefer, and happened as I travelled from my parents’ home back to Kent on New Year’s Day.  Snow, or more specifically ice, was playing havoc with the trains in Kent, so when I reached Charing Cross, I found that all trains heading South had been cancelled.  I asked the man on the Information desk whether trains were running from Victoria as an alternative and he (after, I am sure, checking on nationalrail.co.uk) told me that they were.  So I descended into the underworld of the tube system once again and made my way towards a different route home.

I entered a carriage, sat down on a vacant seat and glanced around.  I couldn’t help but notice that the woman sitting on the opposite side of the aisle was crying as she read a book.  Nobody else appeared to have noticed this, but I couldn’t just ignore it.  I had no idea whether the book was making her cry or whether something in her life was the cause of her tears.  I had no idea who she was.  But I reached into my pocket, got out my ever-present packet of tissues and handed a fresh one over to her.  The smile  that lit up her face as I handed it over was a fascinating contrast to the disapproving stare of one fellow passenger who had failed to ignore this.  As she took the tissue and dried her tears, our journey continued in silence.  I soon reached my stop, and stood to leave.  She caught my eye, smiled again and mouthed ‘thank you’ moments before I stepped out onto the platform.  A very brief encounter, to be sure, but a moment that will stick with me for quite some time.  It is possible to connect with our fellow human beings, but we often seem to have lost the art.  I, for one, think that’s a shame.

In/out/in/out, shake us all about…

Last year, I wrote about the general inability this country has to cope with snow.  It appears that we have learned little, if anything from the experience and our recent attack of the frozen white stuff has caused even more confusion and problems than the last.  Partly this is down to a lack of snow-related infrastructure  and contingency – unlike places where heavy snow is a frequent event, our train tracks can’t cope with ice, our cars lack winter tyres and even main roads can quickly become impassable.

Just like everywhere else, the shiny new learning centre was affected by the turn in the weather.  On the first day of snow, a number of staff left early in order not to miss the last busses and trains to their various home towns, then many of them found themselves unable to get in on either the second or third day due to the public transport system running away and whimpering in a corner somewhere.  However, a large number of staff did manage to attend, and services were able to run as normal.  But the general air of panic which seemed to sweep the country (even in areas like mine which were not so seriously affected) meant that before long, services could not continue as usual after all.  The whole university was closed at 12 noon on the Friday (the third day of snow), to reopen after the weekend, much to the surprise of the throng of library staff who were merrily getting on with our various tasks.  Still, we didn’t complain too much, to be honest – I, for one, loved the snowy walk with the dogs which the free afternoon allowed me to take.

Then the confusion set in.

Read more

One year later

It is a really amazing thought that it is a year ago today that Ben Mills first asked the audience what to do with the lamp, rubbed it and received a visitation from a librarian in an alarmingly revealing costume.  Yes, Aladdin opened a year ago, and what a year it has been, both on stage and off.

Such a lot has happened over the past twelve months, much of it never mentioned here.  Many things have had more significance than you might expect, such as the arrival of carpet in various rooms of the house (bedrooms, front room, hall, stairs and landing) which really helped make it feel like home.  More major life changes have included the move from the old Library of Doom to the sparkly new building which I am coming to think of as the Learning Centre of Farce.  There have been some very good times and some very bad times – there have been points during the last 12 months when I’ve been proud of myself and others where I’ve been ashamed.

In theatrical terms, the year has been varied and exciting.  Read more

Striking Midnight

In addition to racing with the clock in The Pajama Game, I am also rehearsing for another production which couldn’t be more different, at least as far as musical theatre goes.  The other project is a much more recent musical called When Midnight Strikes, a 12-character affair set on the night of the party of parties, as 1999 became 2000.  By Charles Miller and Kevin Hammonds, it features broad comedy and emotional drama as a disparate group of people gather to see in the new year and wonder whether the millennium bug will strike.  Although it has seen productions in London and New York, it was never a major hit, but certainly deserves attention, if only for the wonderful score which gives each of the characters a revealing solo or duet and features some tricky harmony work for the whole cast.

I auditioned for this show on my birthday (as you do) and was delighted to be offered the role of Chris, the host of the party who is soon discovered (by both his wife and the audience) to have recently ended an affair.  Needless to say, this leads first to a certain amount of tension and then to rather a lot of drama.    This is a very different part for me, playing someone who is extraordinarily unsympathetic who does little to redeem himself during the course of the evening.  Aside from a few barbed one-liners early in the show, this is a character who is not comedic – straight acting will be required for once.  During the second act, he has a song which will be a challenge and a privilege to sing.  Named ‘Like Father, Like Son’, it is a chance for some empathy with Chris as he delves into the reasons he has done the things he has done.  Part of the challenge is the chorus, where the same words occur three times, but mean something different each time they return.

The show is on for one night only at the Tower Theatre, Folkestone, and is produced by Lights Up Productions.  This is one of those occasions where I am the oldest cast member, but only just – it will make a change not to be either the baby or the old man of the show.  In a first for a show I’ve been involved with, a teaser trailer, filmed at an early rehearsal, has been uploaded to YouTube and can be seen below:

This is an exciting departure for me – a different group of performers, a different theatre, and a chance to really stretch the acting side of my performance in a small ensemble cast.  As we sing at the close of Act One, I can’t help thinking that “it’s gonna be a great year, ’cause from here on out it’s the sky!”

It is me? The great Christmas No. 1 battle

Is it me?  I can’t help but be baffled by the news report I’ve just seen about the shocking result of the traditional race to be number one in the Christmas chart.  I say shocking, but it isn’t really – I think it was to be expected, really.  On one side, we have the X-Factor juggernaut, with a technically brilliant singer releasing a worryingly catchy song (Joe McElderry is a great singer [his performances that I've seen were near-as-dammit to flawless], there really is no question, I’m just not convinced he’s a superstar), on the other side you have a Facebook-fuelled campaign to get an alternative track to the top spot.  Never underestimate the power of Facebook.

Essentially, the choice of song (Rage Against the Machine’s “Killing in the Name”) made it quite clear that the campaign was more about sticking two fingers up at the way in which people like Simon Cowell dominate the music industry than it was about musical taste.  I’d be astonished if all the people who bought the song liked it.  But the whole thing strikes me as wonderfully ironic.  Read more

Playing with pyjamas

Being the Singing Librarian is often quite a busy thing to be, as I tend to have more than one project on the go at once.  Plus the day job, of course, which takes up plenty of time and energy itself.  At the moment, I’m rehearsing for two different shows (in some ways quite a light load for me!).  One of these is a 1950s musical which was a big hit in its day but seems relatively forgotten now, The Pajama Game.  The theme of the show (or, I suppose, the excuse for the inevitable 1950s musical love stories) is that a group of pyjama factory workers are growing increasingly disgruntled that their employer has failed to give them a seven and a half cents per hour pay rise which is rapidly becoming industry standard.  A strike is contemplated, and alternative forms of industrial action embarked upon, which makes the show somewhat timely given the recent announcement of a very long strike by British Airways employees.  But the reason for going to see the show is the music, which includes a couple of well-known standards: ‘Hey There’ (“you with the stars in your eyes…”) and ‘Hernando’s Hideaway’, plus some big toe-tapping numbers including ‘Steam Heat’. Here’s a taste from the recent Broadway revival, including my personal favourite from the score, ‘There Once Was a Man’:

Read more

The blonde factor

Moving from the Library of Doom to a state of the art learning centre has been an interesting, exciting, tiring and sometimes frustrating experience.  The new building has been open for 10 weeks now and everything is beginning to settle down.  We understand the technology, we no longer forget which floor everything is on and we are adjusting to the open plan office etiquette rules and the students’ newfound freedom to talk, eat and drink almost anywhere in the learning centre.  One thing, however, has not settled down, and that is shelving.  In any library (sorry, learning centre), shelving is a major logistical issue involving more trolleys and members of staff than you could ever imagine.  In fact, the task seems to consume as many trolleys as are available – you can purchase a couple of dozen extra trolleys, but within a week you will find yourself needing more.

Read more

The joy of techs revisited

For me, the last week in October was largely spent dressed in black, navigating with the aid of blue lights.  In other words, it was spent backstage, specifically as a stage manager for Herne Bay Operatic Society’s compilation show Thoroughly Modern Musicals, the first time I’ve performed that particular function for a show (though I have played the character of a stage manager before).  I thought this was a rather crazy move on the part of the Society’s committee, and was fearing I would manage to do something truly disastrous.  As it turned out, I  didn’t cause a calamity, but the day of the tech and the days afterwards were still remarkably scary and exhilarating.  After all, the stage manager is in charge once the show is up and running – the thought that it was all my responsibility was positively terrifying.

Read more

More deadly than the male?

Last night, I headed over to the Whitstable Playhouse to watch The Female of the Species, in a production by the Lindley Players.  This is a play by Joanna Murray-Smith, inspired by an incident when Germaine Greer’s home was invaded by an upset student.  As it is a very new play, I wasn’t really sure what to expect, having only vaguely heard of it.  Luckily, it proved to be very good indeed.  The script is surprisingly funny, the direction was strong and the cast interpreted their varied characters well.  Certainly £9 well spent, I thought.

Read more

The joy of techs…

The technical rehearsal is one of the milestones of production week, a sign that if you don’t know your lines/steps/harmonies by now, it’s too darned late. It’s a run-through of the show in the show’s location (as most likely, rehearsals prior to the tech will have been held somewhere other than the theatre), which is essentially for the benefit of all the crew, the army of people dressed in black who make the show happen – lights, sound, set changes, props, wardrobe etc. A tech run is a slow old process, as it is the only chance you have to make that complicated set transformation work, or sort out the levels on the microphones or ensure that the soloist is slap bang in the middle of their spotlight. It is when the cast learn how to negotiate stairs and doors which have previously been imaginary, and when you find out just far you have to run in order to complete a quick change in your dressing room. It is when everyone gets very, very stressed, as they are either very busy or sitting around doing nothing, both of which can be equally irritating. It’s a time for getting a bit of an electric buzz as you step onto the stage, and a time for tearing your hair out because a dance number has to be re-blocked to accommodate the set.

I have enjoyed and endured many techs over the years, both on stage and backstage. Hopefully one day I’ll experience one from the other side of the footlights as a director, as well. I don’t think I’ve ever been to a perfect tech, and there’s never been one that keeps everyone happy. Sometimes, scenes have to be skipped because nothing happens in them from the tech point of view, and this can upset the actors. Sometimes, a particular technical issue can’t be fully resolved as it’s taking too much time and this puts the crew on edge. Sometimes, the atmosphere could be cut with a knife and you can sense everyone tiptoeing around each other. But for all their frustrations, techs are great – it’s the first time you get an inkling about the set, the sound and the lights, the first time you get the sense that the show is really happening very soon indeed and it’s an excellent chance to get to know the people in your dressing room or your fellow crew members a bit better. It’s the Fame tech tonight. Joy!

**********

Related posts: