A Day in the Life of Lorna Windham

Jess on Helen's Polly 715.

I live in Northumberland.  With the Cheviots Hills, Rivers Tweed, Coquet and Wansbeck and endless beaches, I have plenty of choice about where to walk and think about writing. When I won the North Tyneside Short Story Competition with ‘Spirit of the Age’ and my children’s novel ‘Toby’s Secret’ was long listed in the Times Chicken House competition in 2008, I was hooked.

 

Spurred on by this success, I’m now the author of three local history books ‘Crime and Punishment’, ‘Deaths Disasters & Dastardly Deeds’ and ‘Murder, Mystery & Mayhem’ and in November I was invited to BBC Radio Newcastle to chat with Jonathan Miles about my latest effort.

pic4L

I often promote my writing by doing power point presentations for local history societies.  One talk I did was about ‘Deaths, Disasters and Dastardly Deeds’. It was a catastrophe.

Waking at 3am with a razor blade-throat, I used an old operasingers’ trick and gargled with gin. Numbness crept over my vocal chords. I slept. Hours later I was sure someone had performed surgery with a cheese grater. I grabbed a whisky bottle and gargled. My throat was completely anaesthetised. Success.

By that evening I had a dull headache and my eyes had more bags than Louis Vuitton. It was flu, but I had promised to do the talk.

“Something’s up with the heating again,” said the perspiring IT gent as I rehearsed the presentation.

“Really?” I croaked.

The audience trooped in at 5.00 pm. Thirty minutes later I pointed the IT gent’s laser repeatedly at the screen. Nothing happened. The audience groaned. “It’ll be the USB port, we’ve had difficulties with it before,” he said as he fiddled with leads.

Lorna & three books.

 

Should I kill him? I took a deep breath; at least he wasn’t piloting a plane. We began again. Everything worked, the audience clapped in anticipation. By 6.15 pm the talk was going really well. Emboldened by my success I started to move forwards, but couldn’t because my heel was stuck in a hole in the rostra. I was now attached to the stage. “Well,” I said wrenching myself free, “my talk is about disasters.”

Ten minutes later I was on the final furlong. My throat was raw, my head was about to explode and I was perspiring like a woman in labour. However, I was sure I’d delivered a talk which had mesmerised the audience by its sheer brilliance.

I glanced at the front row. One man’s eyelids were going down like blinds, his partner’s were closed and the woman beside him had her head on her chest. I finished quickly and thanked ‘EVERYONE’ for listening. They limped out adjusting whistling hearing aids, leaning on sticks and sucking teeth. Ah well, that’s what you get when you give a talk to octogenarians in an overheated auditorium.

 

Lorna & mouth of River Wansbeck.

 

 

Theatre Collection present Crime and Punishment by Fyodor Dostoyevsky

Theatre Collection present Crime and Punishment by Fyodor Dostoyevsky

Adapted and directed by Victor Sobchak
 
Crime and Punishment was always going to be an ambitious undertaking, especially with limited stage space and the necessary shortening of the literary epic for the stage. However there is a great deal to like about this production.

 The story itself has always fascinated me, offering psychological insight into the nature of morality, and the many forms of punishment that exist, reaching far beyond simple incarceration. Seeing the play in 2012 also makes me question whether criminals today may be so plagued by guilt and unable to enjoy ill-gotten gains.

 We follow Raskolnikov (played with impressive intensity by Shaban Arifi) an anti hero and our central character. Pressured by the poverty surrounding him, he feels forced to kill and rob a woman who by all accounts is morally bankrupt. In the course of this crime he is interrupted by her sister, whom he also kills.

 The punishment he brings on himself for these heinous acts – despite intermittently justifying them to himself and, at times, others – is enthralling to witness. With money the motivating factor, both for himself and his mother and sister, it is symbolic that he finds himself unable to use the money at all, becoming a miserable and tortured shadow of himself.

 With these issues as the subject, set in Nineteenth Century St Petersburg, the portrayal was always going to be bleak, and while at times the intensive, tortured performances were hard to watch, they felt true to the novel. The use of space, lighting and music was particularly impressive and I really did feel swept away – albeit bleakly – in the performance.

 This won’t be a play for everyone and I wonder if people who haven’t read the novel would get as much from it as I did, but overall I would highly commend such an ambitious and largely successful undertaking.

By Meredith Ettridge

Stars Shaban Arifi and Lucia Edwards.