WELSH WRITING WEDNESDAYS: JAN BAYNHAM ON HER LOVE FOR UNDER MILK WOOD

Those of you who know me or read my posts on Jan Baynham Writer Facebook page will realise I’m a big fan of Dylan Thomas and his writing, from his wonderful poetry to his short stories and especially his famous play for voices, Under Milk Wood. My first encounter with the play was, in fact, not on the radio but a stage performance at the tiny but grandly named theatre, the Albert Hall, in my hometown of Llandrindod Wells. As a teenager, I can remember being mesmerised by the poetic language, his use of imagery, and the wide range of eclectic and eccentric people he’d created.

The characters live in a small fictional Welsh village by the sea, named Llareggub (read it backwards!) or Llaregyb (contrary to Thomas’s wishes) in some earlier versions of the play. A long time in its making, the play tells of the ‘dreams, fantasies and realities of the inhabitants’ of Llareggub ‘as they unfold across the cycle of one spring day’. The villagers are presented in a humorous, ribald way, created and exaggerated maybe from the poet’s observations of the oddities and the pieces of gossip of a small-town community that he lapped up every morning in Brown’s Hotel in Laugharne, Carmarthenshire.

The play opens at night and a narrator invites the audience to listen in on the dreams of the townspeople of Llareggub while they sleep, “from where you are”.

“To begin at the beginning:

It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched’-and-rabbits’ wood limping invisible down the sloeblack, slow, black, crowblack, fishingboat-bobbing sea…”

We are taken straight there, invited to listen to the villagers’ innermost thoughts. They include Captain Cat, the blind sea captain, reliving his times at sea and his drowned ship mates and Mrs. Ogmore-Pritchard, relentlessly nagging her two dead husbands. Almost all the characters in the play are introduced as the audience witnesses a moment of their dreams until “…dawn inches up.”

Through the characters, more than sixty of them, we are given a glimpse of village life albeit through their eccentricities. The Reverend Eli Jenkins delivers a morning sermon about his love for the village. I love the choice of names – Gossamer Beynon, Willy Nilly, Evans the Death, Dai Bread, Nogood Boyo. Through their actions and what they say, the characters come alive. Taking up her morning tea, Mr. Pugh imagines poisoning his nagging wife and whispers:

“Here’s your arsenic, dear.
And your weedkiller biscuit…
Here’s your…
…nice tea, dear.”

At Mrs. Organ-Morgan’s general shop, women gossip about the townspeople. Children play in the schoolyard; Polly Garter scrubs floors and sings about her illicit lovers of the past. Later, Mrs. Organ-Morgan shares some of that gossip with her husband:

“I saw you talking to a saint this morning. Saint Polly Garter. She was martyred again last night…”

As night begins, Reverend Jenkins recites another poem. Cherry Owen heads to the Sailor’s Arms, where Sinbad still longs for Gossamer Beynon. The town prepares for the evening and the inhabitants of Llareggub return to their dreams again.

Since my first introduction to Under Milk Wood as a teen, I’ve heard it played many times with a variety of casts, seen stage performances and film versions. It never fails to intrigue me, and I find new snippets of language to marvel at each time. It has been called poetry but Dylan Thomas’s own description of it is ‘prose with blood-pressure’! If you are not familiar with the play, I can’t recommend it highly enough.

 

 

 

 

Faith

Frost fiction, short stories, poems, non fiction, fiction.

Jeanie held her arms out to each side.  The balls of her feet balanced against the edge of the stage: her heels hung in the air.

“That’s it, Jeanie: now fall back and the other girls will catch you,” the teacher cooed.

“Well of course they will,” Jeanie thought.

She knew them.  Jeanie knew they’d do exactly as they were told.  Jeanie had dunked the geeky one’s head in the toilet just last week.  The spotty one still had a bust lip.

She closed her eyes and fell backwards.

There was a giggle.

Promo Image by Charlie Foster via Unsplash.

The first in a new series of 100-word short stories by Tim Austin at onewordonestory.org. Whatever genre you love, there’s a story you’ll enjoy.

Come back on Friday for another. See you then.

REVIEW: Pinocchio, Chichester Festival Theatre

Photo credit: Manuel Harlan

 

 

 

 

 

 

That any live theatre has gone ahead this December is a Christmas miracle in itself. In Chichester’s annual Youth Theatre production, however, there is a double dose of wonder; against all the virus-related odds the show has not only gone on, but it’s an absolute belter.

Usually boasting a cast of almost one-hundred, in order to manage social distancing this year’s CFYT offering is presented by two smaller teams of twenty-three, with Team Fox and Team Cat splitting the performances. (On Press Night Team Fox were performing, but I am reliably informed that Team Cat are every bit as accomplished.) Directing a full-scale production to meet the pandemic’s stringent safety measures, on and off the stage, is an extraordinary feat of choreography, and one that all those involved in achieving must be congratulated.

Hope, redemption and realising that our differences can be strengths rather than weaknesses are themes that run through this abridged version of Carlo Collodi’s original tale, which has been superbly adapted by Anna Ledwich. Managing to be gloriously heart-warming without straying into sentimentality, Director Dale Rooks has infused Pinocchio with emotions and moments that truly resonate. One such instance is when Pinocchio and Geppetto ‘hug’. Standing apart, they wrap their arms around their own bodies, bringing a lump to the throat and an ache to the heart – oh to hug again!

On stage there’s not a single below par performance. Archie Elliot (Lewis Renninson) in the title role plays the headstrong little puppet with absolute conviction. Pinocchio may be made from wood but he has guts, heart and spirit, ensuring that we are rooting for him all the way. Alfie Ayling (Jack Campbell) as Geppetto is warm and wistful, playing the lonely carpenter with a maturity beyond his years.

There is excellent work too from Meg Bewley (Molly Berry) as the Fairy and Annalise Bradbury (Olivia Dickens) as Cricket, her exasperated sidekick. Marvellous cameo gems include Alex Webb (Noah Peirson) as a chatty French poodle – très magnifique!

The ensemble work is extraordinary. Matching talent with energy,  it is ultimately in the production’s togetherness that its success lies. A masterclass in how a completely cohesive company can create something magical, the story flows perfectly, the singing and dancing are stunning and the set, simple but oh-so clever, is breath taking.

The overall effect is wonderfully uplifting. Moreover, there is a sense of the fantastic; a promise of enchantment. And it delivers. With Christmas bells on.

Vicky Edwards

HOW YORK LIBRARIES DIGITAL SERVICES ROSE TO THE CHALLENGE DURING LOCKDOWN

Gillian Holmes, Executive Assistant at Explore York Libraries & Archives, shares their fascinating story

From the onset of the lockdown in March, Explore York, which runs libraries and archives for the City of York in northern England, saw usage of its OverDrive e-library double showcasing a huge rise in digital reading whilst the physical library service was closed.

“We already had a well-established e-library in place, in terms of functionality and awareness, so we were ready,” said Helen Whitehead, e-services librarian for Explore York.

More than fifty percent of the users during lockdown were new to the OverDrive e-library. Comments received show customers were impressed with how easy the site was to use, and they spread the word to friends, increasing even more uptake. Usage increased in all categories, but especially in children’s e-books. During the Summer Reading Challenge for children, five times as many e-books were issued than in 2019. In total, for the period January 1st to December 1st 2020, the OverDrive e-library saw 77,000 checkouts against 41,500 checkouts for the same period in 2019 an 86% increase.

Generous donations from publishers, together with cash grants from City of York Council and Central Government, meant Explore York kept up with the increased demand for e-books. Having books available even when physical libraries were closed was so important for wellbeing. As one customer put it, “(OverDrive’s Libby reading app) has been a lifesaver for me during lockdown.”

“People are reading all kinds of publications, including some we could never have offered in hard copy,” Helen said of the staggering uptake.

We have had many comments from people expressing appreciation for PressReader, including a health worker at the local hospital: “I’ve downloaded the PressReader app and it looks awesome. Will give me something light-hearted and diversionary to read on a break at work!”

As well as providing online reading materials, Explore York moved quickly to create a virtual “Library from Home.” The website was updated so that customers would easily find what they needed. Archive and Family History sites such as Ancestry were offered from home. Librarians and archivists created new online resources to support home-schooling and reminiscence sessions. Explore York’s well-loved events programme moved to Zoom and has proved to be as popular as ever despite the virtual format. One example is a regular monthly poetry evening, which achieved a record audience with participants joining from around the world. Explore York also developed a number of new online platforms, including a Lego Club on Facebook, a volunteer programme via Flickr and curated watchlists on its YouTube channel.

As library services have been transformed in the last six months, Explore York staff have also been on a real journey of learning and discovery of all that can be achieved online. The experience of 2020 will inform the way library and Archive services are delivered in future.

The last word goes to one library user who speaks for many:

“When I look back over this difficult period, I hope I’ll remember the fantastic books that took me to a different place and helped me reflect on my place in this world. I’ve laughed out loud, I’ve cried and shouted at the iPad. I’m hooked!”

 

 

 

 

 

SISTER SCRIBES: KITTY WILSON ON HOW ROMANCE IS HOPE

Back in November I wrote a post here about Why I Love Romance as a genre. I explained that I had inadvertently written an essay on this subject and that first post covered how I believe romance is universal and utterly relatable, especially romantic comedy, my own specific sub-genre.

Today I wanted to return to that theme and talk about romance novels giving us hope in an often bleak and daunting world. I truly believe this – that romance novels help us have hope in life, the absolute certainty of a happy ending is sometimes exactly what you need to escape real life, whether it be dreadful news or just the day to day monotony.

Whilst trawling the internet a while ago I came across a tweet from a writer, Angela James, asking people to share their romance positive moments. The response was overwhelming, hope was right up at the top of that list and I have picked a couple as illustrations as they say it so much better than I could.

‘I found Romance after my brother commited suicide. It was a very dark and hopeless time, but Romance taught me that hope can rise again even after the darkest of moments and love, in all its forms, can be found if you just open yourself up to it.’

‘I began reading romance novels after my first miscarriage. I believe they re-wired my brain and helped me remember what optimism felt like.’

‘I started reading romance novels while was undergoing cancer treatment. I needed positive, escapist stories that promised a HEA.’

Now I’m not saying that romance is a cure-all, of course it isn’t. But romance novels are often easy and quick to read thus providing escape for an hour or two. They can’t rid you of the burdens that life brings, but being lost in the pages of a novel can give you a brief pause from them. I fell in love with romance when I became poorly at the age of thirteen. My friends were ringing me and asking if I was dying (I wasn’t but they were a dramatic bunch) and all I knew was that my body wasn’t behaving as it should. If I hadn’t had romance novels to read, to lose myself in, I think I would have struggled to cope.

We all know that life is not a romance but these books do give us the thrill of living vicariously, of confronting challenges and winning, of reading about someone’s longing turning into reality. To be fair, that’s true of reading in general but with romance you get the added ahhh factor, the satisfaction of a romance played out, of willing the hero and heroine on without any of the risk or leaving the comfort of your own home. I can be sunbathing on a tropical island or dancing the cha-cha whilst in reality I’m wrapped in a blanket and drinking a cup of tea, ignoring the stuff that I don’t want to have to deal with at that minute.

Happy-Ever-Afters are a reminder that not everything in life is bleak, that there’s the possibility of dreams coming true, that life contains so much positivity. Building a future with someone you love – the pinnacle of Romance – is forward-facing, optimistic, both the essence of hope and an act of hope. Romance Novels are the reassuring and toasty comfort blanket of the fiction world and I love them.

Edit – I wrote this well before Covid-19 was dominating the globe and considered pulling it, but I stand by the fact that in an ever-turbulent world the predictability of a happy-ever-after is reassuring so I’m off to hibernate with my kindle. Keep safe everyone,

Much love, Kitty x

 

 

 

Cable Guys Device Holders: The Cable Guy Spyro Ice Holder

pyro cable guy device holder Meet Spyro the ice cool cheat code version of the protagonist. It’s the ideal gadget for gaming fans and collectors.

With Spyro’s striking ice blue hair and vibrant purple skin, it will look the part in any gamers room. At 8 inches tall, Spyro Ice cheat cold collectable charges and holds smartphones, gaming controllers and even holds TV remotes. Don’t worry Spyro won’t free any dragons in your home.

Cable Guys by Exquisite Gaming have a collection of these fun phone and device holders. They are approximately 20cm tall and crafted to perfection.

Compatible with PlayStation controllers, Xbox controllers and most smartphones. We love Spyro. He is well made and handy. A super cool addition to your home. 

The Cable Guy Spyro Ice Holder is available here.

The Butterfly Lion: Review

The Butterfly Lion
Minerva Theatre, Chichester
Until 15 November
www.cft.org.uk

Photo credit: Manuel Harlan

Theatrical storytelling at its finest, the importance of treasuring memories is a central theme in this superb adaptation of Michael Morpurgo’s book – a theme that is perfectly reflected in Simon Higlett’s dreamy set. Enhanced by a crack creative team (lighting by Johanna Town, sound by Gregory Clarke and video by Simon Wainright), the play’s journey, which traverses the wilds of South Africa to rural England and the battlefields of France, is a collective design triumph.

Jonathan Dryden Taylor as Michael Morpurgo himself is the story’s guide. Meandering down memory lane, his narration melts seamlessly into the action, sweeping you along for the ride and inspiring a sense of old snapshots coming to life.

All the performances are accomplished. With skill beyond their years the youngsters playing the junior versions of the adult characters don’t miss so much as the subtlest nuance.

The adult cast, many of whom play multiple roles, are equally adept. Effortlessly slipping from character to character, the scenes at the watering hole, in which they take on animal personas, are especially impressive.

Director Dale Rooks has invested such care that not even the smallest detail falls short. Making it feel as if you are watching a labour of love rather than simply an extremely polished production; her Butterfly Lion has palpable heart and soul. It makes the heart sing.

Complemented by Tom Brady’s atmospheric music, Anna Ledwich’s adaption is sensitively and elegantly done. Clearly meeting with the approval of the book’s author, who on Press Night was in the audience, Mr Morpurgo looked proud fit to burst. He deserved to.

Play Up, Malory Towers!

As the first ever stage production of Enid Blyton’s Malory Towers embarks on a national tour, Director Emma Rice tells Vicky Edwards why these classic stories are an enduring delight…

I’ve always thought optimism a lovely trait. Not only do the ‘glass half full’ brigade seem better equipped to withstand life’s slings and arrows, but their sanguinity is also marvellously contagious; even die-hard Eeyores struggle to maintain despondency when in the company of a fully-buoyant bright-sider. In literature, Malory Towers is the epitome of optimism. Nobody better, therefore, to adapt the original work and direct it than Wise Children’s super-sunny Emma Rice.

Co-produced with York Theatre Royal in association with Bristol Old Vic, and officially licensed by Enid Blyton Entertainment, a division of Hachette Children’s Group (HCG), Malory Towers is the original post war ‘Girl Power’ story. The high jinks of pupils at the Cornish boarding school have thrilled readers ever since the first story was published in 1946 – didn’t we all yearn to join in the midnight feasts and yell ‘Play Up, Malory Towers!’ at nail-biting lacrosse matches? The books remain hugely popular, with new generations devouring them and dreaming of being sent away to boarding school with an overflowing tuck box.

 

Emma Rice credit Steve Tanner

“But there is plenty for boys too,” urges Emma, in exuberant form after a productive week of rehearsals. “The only thing that would disappoint me would be if people didn’t bring their boys,” she added, promising a show that delivers plenty of thrills and spills.

“The animation is fantastic – we see the train arriving at the Cornish coast – and then there is a real cliff hanger just before the interval. We have just been rehearsing that bit today and it’s like Ben Hur!”

Described as ‘nostalgic, naughty and perfect for now,’ what initially appealed to Emma about the project?

“The Malory Towers books are great stories filled with great characters who don’t seem to age at all. It is very hopeful and I think that is right for now. I call it my happy Lord of the Flies: when left to their own devices, a group of girls decide to be the best version of themselves they possibly can be. They want to change the world and be women the world can lean on; they want to resolve conflict. They never talk about boys and they aren’t boring!”

Interestingly, Emma is a relatively new convert to Blyton’s best-loved school stories.

“I’ve worked with David [producer David Pugh] many times. He has great taste and he knows me so well, damn him!”
Laughing, she recalled how David piqued her interest by wooing her with a vintage set of the books, beautifully wrapped in brown paper.

“As soon as I read the first one I just knew they would make a great piece of theatre. They’re such page turners, the characters are so well observed and the powerful feminine voice comes through with such positivity.”

Anyone familiar with Emma’s work will know that music is an integral part of her productions.

“There is always lots of music with me,” she agreed cheerfully, “but I wanted the music in Malory Towers to be virtuosic; simple, but showing how rich the world is. There are some new compositions by Ian Ross and it’s a real musical feast,” she teased; “and it has got fantastic dancing, too. The choreography is incredible. I wanted my Malory Towers to be like Busby Berkeley, but in an earthy, feminist way!”

If the music is a feast then the actors Emma has assembled are a veritable banquet (‘simply top hole,’ as Darrell and her chums might say), and, refreshingly, it was achieved through a ‘character-over-looks’ approach to casting.

“For me, casting is always about getting the right personalities and the people who absolutely capture the spirit of the characters.” As proud as a Head Teacher with an intake of straight ‘A’ students, she adds: “My company comprises a range of actors with different backgrounds.

Gymslip clad, Emma’s performers will transport audiences to 1950s Cornwall where Darrell Rivers is embarking on her Malory Towers adventure. Bright, loyal and big-hearted, her fast and fiery temper is something she must learn to master. And, while she’s about it, can she save the school play and rescue terrified Mary Lou from the grip of a raging storm? Crikey!

But amid all the drama and japes runs Emma’s affection and regard for the generation of women who taught in schools in the wake of warfare.

“With lives shaped by the savagery of two wars, they devoted themselves to the education and nurture of other women. My Malory Towers is for them, and also for the two generations of men that died in those same wars, leaving us with the freedom to lead meaningful, safe and empowered lives. And it is for Clement Attlee and his Labour government of 1945 who looked into the face of evil and chose to do what was right. These people changed the political landscape in their focus on care, compassion and the common good. Malory Towers was written at the heart of this political revolution, and embodies a kindness, hope and love of life that knocks my socks off.”

Something else Emma is passionate about is the work of her company, Wise Children.

“We want to make fantastic world class ensemble theatre based on storytelling techniques that I have developed over my career, and at the same time teach the next generation of creative theatre makers. And we want to create access for people who might not be able to access theatre training,” she told me, explaining that there are free places given to those for whom such aspirations would otherwise be impossible.

Vowing to raid my daughter’s bookshelf and get reacquainted with Blyton’s finest work, on my way home I imagined what Miss Grayling’s comment on Emma’s end of term report might have been:

‘A splendid Head Girl who can surely be depended upon to lead Malory Towers to victory. Jolly good show, Emma!’

©Vicky Edwards