Golden Hair
Skokholm Island
20130809-104618-Skokholm-1144

Blog

Never a happy ending…

“Don’t expect people to live happily ever after,” was Jan’s warning for any theatregoers going to any of Sean O’Casey’s plays. And that certainly held true for the ‘The Plough and the Stars’ at the National.

This gripping production of the inevitable consequences for ordinary decent people of the catastrophic leadership of the 1916 Irish uprising was a comic then tragic horror story with so many resonaces for the modern day – whether the conflict is armed or verbal. Plays about ordinary lives of ordinary people, of whatever class, often descend into senseless avoidable tragedy. There is nothing heroic in the Plough and Stars. Any more so than there is in Romeo and Juliet, or the Great Gatsby, or Cathy Come Home. Nor are there any heroes.

It does take a little time to get used to the Irishness of the accents. So much so that at half time I complained of the cod-Irish I was hearing, only to be admonished that the bulk of the cast were actually Irish – mea culpa. It’s a little like getting used to lilt of an early English version of Chaucer, but once you’ve caught the melody of the accent it becomes much easier. Easier to follow and a harder watch as the grim brutality unfolds.

I love a rotating set and the massive tenement interior rotated to an exterior, a pub, and a new interior for the final scenes of death and despair. The set changes were smoothly handled and the sets themselves detailed representations of wartime tenement life. When the leading player, Nora Clitheroe played by Judith Roddy, is unable to persuade her husband not to march to the call of the Irish Citizen Army, one can see the tragedy ready to unfold in front of you against this massive backdrop.
As with the ‘Juno and the Paycock’ – the only other O’Casey play I have seen – the women are the strong characters and those who bear the most of the suffering. That doesn’t mean that they are without fault themselves – Nora’s  lack of any sympathy for a dying soldier and the readiness of others to set off on a looting spree during the breakdown of law and order of the uprising being simple examples. It is hard to have any real empathy with any of the characters but your capacity for sympathy will be stretched to the limit.

With all the men being characterisations, almost caricatures, to tell the story of the uprising – the republican soldier, the union man, the communist, the bombast, the politician – the publican is the one person who seems to live in the world we can readily identify with. Indeed his constant exhortations to the abusive men and women in his bar to ‘speak easy’ seems somewhat resonant of today’s exhortations to calm the excesses of social media comment.

The six months of this story line are effortlessly compressed into the the two and half hours or so of the ruling time. I think that was enough. Although there was much humour in the play it was harrowing enough to make me feel somewhat drained at the end. I have no idea how the cast manage to deal with it day after day.

If you are going to see a play about the everyday story of pre-revolutionary (failed) city folk this is probably it. I can see why it was not universally acclaimed when first performed in 1926, at least by the republicans who felt they could do no wrong. But republican or loyalist or agnostic it’s a tale worth the seeing of today.

 

Petrel Station

A few days away from work culminated in the three days on Skokholm Island. On the boat on the way over we discovered that some intensive ringing of European Storm Petrels was going to take place over the nights of our stay.

We were looking forward to some relaxing time away from the phones and emails, but couldn’t resist the chance of handling this tiny sea bird. So it was a very late night working until 3 in the morning. But what a night it was.

The wardens and the other qualified bird ringers were luring birds into the mist nets by playing a selection of the storm petrel calls, where they were being bagged up ready from processing – have their weight and key measurements taken, and fitted with a unique ring. 256 birds were trapped. 8 had been trapped on the island in previous years and three birds were from other sites – four from close on the mainland, one from Portland Bill in Dorset, England and one as yet unknown.

20160722 213948 Skokholm 13004

We were fortunate to be able take some photographs from the release site. I was lucky enough to get this one full in the frame and most in focus – a stroke of luck since we were working in the small red glow from a head torch.

If you want to know more about Skokholm Island then head over to the warden’s blog at http://skokholm.blogspot.co.uk/ .

The Mad Dog is Dead

Simon Russell Beale, who knows a thing or two about Shakespearean theatre, seemed to enjoy this production of Richard III from his seat immediately in front of us.

Almost as long as Richard’s reign, this production at the Almeida didn’t have the pace of many recent productions. It did seem to have every single last line that Shakespeare penned (plumed?) but that didn’t detract from the power and menace of the piece.

With an audience used to the full War of the Roses tale being built in the three plays of the Hollow Crown, this production had to carefully bring people up to speed with the monster Gloucester who was to become the tyrant King Richard III. This was elegantly achieved from the very opening scenes of the modern day excavation of Richard’s remains from a car park, complete with BBC voice over. A combination of modern day dress and mobile phones with period armour and swords gave a broad landscape on which to paint this brutal tale.

Finbar Lynch played Buckingham, Richard’s right hand thug, with a stylish authority – right up to the point he was shot in back for daring to be hesitant in ordering the murder of the princes in the Tower. A lesson for all right hand thugs who seek to promote their master above their level of competence.

And that, of course, is Richard’s great failing. He seizes power because he can. He enjoys the game of plotting against his enemies, friends and family. He uses all means, fair and foul (well, actually, foul and foul) to remove obstacles from his path to – nowhere. With no plan other than to be King, no plan to govern, no plan of action at home or overseas, and certainly no broad appeal other than to his increasingly narrow band of thugs, he simply wanted to be the King.

As is customary these days Ralph Fiennes played the ambitious Duke of Gloucester partly for laughs, at least in the first half. But the laughs were often cut short by yet another death on his murderous rise to the top. Unusually, all the murders took place in plain view, again adding to the running time but making sure no-one was left in any illusion about the depravity of the central character. The only death scene which struck a slightly sour note – maybe the wine was off  – was the drowning of the Duke of Clarence in the barrel of Malmsey. The obviously emptying empty barrel resonated, not with the gurgles of a drowning man trying to gasp for air, but the heaving breathing of an actor stuffed head first into a small barrel. Obviously it is competing with the Martin Freeman production where Clarence was drowned – very convincingly – in a fish tank but it was still a petty poor effort.

As Fiennes’ Richard gathered momentum to his thankfully inevitable destruction at Bosworth Field, friends and foe joined forces to bring this particular experiment to a merciful end. And one of the good things about this play is when the end comes it is short – nasty and brutish, but mainly short. No drawn out death speeches.

Apart from Fiennes and Lynch the standout performances came from the female leads. In the play they are threatened, bullied, beaten and raped. They have their husbands and sons murdered. But they are the constant reminder to Richard that he is vulnerable to power and they provide the driving force to the opposition which brings his short region to an end. In particular Aislin McGuckin as Queen Elizabeth and Vanessa Redgrave as Queen Margaret command the stage.

Not the best Richard I’ve seen – Martin Freeman on stage and Cumberbatch in the Hollow Crown are difficult to beat – but certainly up there. But when Ralph Fiennes does play for laughs, whether in a serious piece or a period comedy, I occasionally get the unnerving feeling that I’m watching Rigsby from Rising Damp – a TV sitcom of a generation ago for younger readers. I was tempted to ask Simon Russell Beale if he felt the same.

 

Lend me your ears

We’ve all had that problem of people in the office, at home, down the pub mouthing words at you and they just don’t register. Haven’t we?

Today that was definitely a thing. The clog and clutter in my ears, which I’d been attempting to shift with olive oil and other stuff, shifted. Unfortunately inwards rather than out and the world went largely muffled. My normal hearing is moderate to rubbish but it was getting noticeably worse last weekend when, on a short walk, the birds were clearly justing miming at me rather than singing.

Anyhow, tomorrow – the nurse, the syringe and hopefully birdsong beckon.

Just in time to listen to the great debate – where Ed Miliband will be centre stage and Cameron will once again show why he did everything possible to avoid a head to head with the Labour Leader. After last week’s shuttle diplomacy that passed for a debate-lite, there was a significant, potentially game changing, shift in people’s perception of Ed Miliband as the next PM. When on the same stage – albeit separated by the supporting cast – it will become even more apparent who has the ability and vision to lead the country and who, well, has run out of steam.

 

It’s time to choose

Normally this blog – when I can rouse myself to post something – is about birding, natural history, football. The theatre. Photography. Stuff.

Stuff happens.

But it doesn’t happen by accident. It happens because people like you make it happen. And because a government that we elect can help make it happen. Whatever stuff you care about, make sure you:

  1. Register to vote. You have until 20 April – visit www.gov.uk/register-to-vote
  2. Vote.
  3. Vote Labour.


Birding

Lend me your ears

We’ve all had that problem of people in the office, at home, down the pub mouthing words at you and they just don’t register. Haven’t we? Today that was definitely a thing. The clog and clutter in my ears, which I’d been attempting to shift with olive oil and other stuff, shifted. Unfortunately inwar…

Football

Rickie Lambert. England’s goal machine.

Well maybe. Without a shadow of a doubt the best thing about the England Scotland game was Rickie Lambert burying a header with his first touch. What turned out to be the winning goal came just over two minutes into his England career. I hope that for Lambert’s sake that’s not the end of his […]…

Natural History

20160722-213948-Skokholm-13004.jpg
Petrel Station

A few days away from work culminated in the three days on Skokholm Island. On the boat on the way over we discovered that some intensive ringing of European Storm Petrels was going to take place over the nights of our stay. We were looking forward to some relaxing time away from the phones and […]…

Theatre

Never a happy ending…

“Don’t expect people to live happily ever after,” was Jan’s warning for any theatregoers going to any of Sean O’Casey’s plays. And that certainly held true for the ‘The Plough and the Stars’ at the National. This gripping production of the inevitable consequences for ordinary decent people of the…