My Year in Books 2019: September

I didn't seem to get much time to read in September. And I haven't been able to find the time to write this post until now, either. Not my strongest month on the old reading-for-pleasure front, but at least I've got something to show for it in the end!

My posts for the rest of the year are here: January, February, March, April, May, June, July, August

But here are the two novels I read in September...

The Dark Room by Minette Walters (1995)

Having really enjoyed all the Minette Walters books I’ve read so far, I thought I’d give The Dark Room a go. Jane Kingsley (known as Jinx) wakes up in hospital following a car accident. She is badly injured, and the staff tell her that she tried to kill herself by crashing her car. Jinx finds that hard to believe, but she can’t remember the accident itself. She also can’t remember any of the events leading up to it – she doesn’t even remember that her upcoming wedding has been called off, as her fiancé has jilted her for her best friend. Jinx’s rich, overbearing (and vaguely threatening) father has paid for her to stay in a private hospital, under the care of Dr Protheroe (who claims he’s not a psychiatrist). When the bodies of Jinx’s ex-fiancé and ex-friend turn up – murdered in a similar manner to Jinx’s late husband – the police start to wonder whether her amnesia is entirely genuine. The Dark Room has a lot of the hallmarks of Walters’s fiction that I’ve loved in the other books I’ve read – unreliable narration, snippets of newspapers articles and reports interspersing the narrative, careful character studies broken up by a pervasive nastiness (in this case, a subplot involving a series of brutal attacks on prostitutes) – but sadly there was something missing here, and I didn’t quite enjoy it as much as The Sculptress or The Scold’s Bridle (and definitely not as much as The Shape of Snakes, which is an incredible book).

The Sewing Machine by Natalie Fergie (2017)

My mum lent me this one, as she’d really enjoyed it. I know why she liked it – The Sewing Machine is the story of a series of people from different points in the twentieth century, whose lives are connected by a Singer sewing machine. The book is set (mostly) in Edinburgh, so it combines two things my mum loves – her hometown and her old hand-crank Singer. She thought I’d enjoy it because it has multiple narrators, and an interweaving of past and present (and she’s right… I do like those things in fiction). And I did enjoy the way the book switches between the different times and characters: from Jean, who works in the Clydebank Singer factory in the early part of the twentieth century, until her boyfriend is forced out of work following the 1911 strike, to Kathleen and Connie, a mother and daughter in the mid-century, who both rely on sewing to make ends meet, and then Fred, a young man in the early twenty-first century, who arrives in Edinburgh to clear our his late grandfather’s flat and discovers an old sewing machine (with a story to tell). It’s a charming story in many ways, and I love the central conceit. However, I found the book almost impossibly overwritten. The most mundane and everyday actions and objects are described with overly elaborate language and artificial gravitas that I found rather grating. Not a lot happens in The Sewing Machine – and this should have been part of the charm.

Review: Pizza Shop Heroes (Phosphoros Theatre)

Friday 4th October 2019
HOME, Manchester (Orbit Festival)

This year’s Orbit Festival at HOME, Manchester runs from Wednesday 18th September to Saturday 5th October. The festival programme for 2019 seeks to ‘conquer the divide’, by bringing together artists and theatre-makers who explore prevailing societal divides and the ways these might be overcome. On Friday 4th October, I attended the press night of Pizza Shop Heroes by Phosphoros Theatre, which was on the Orbit festival programme this year. I’ll be playing the radio version of my review on Saturday’s Hannah’s Bookshelf on North Manchester FM, but here’s the blog version…

Pizza Shop Heroes is an innovative piece of applied theatre based on the lived experiences of the performers, which was developed through a research process and development workshops. The experiences narrated by workshop participants (the performers of the show) were worked into a theatre script by Dawn Harrison (who also directs) with artistic direction from Kate Duffy.

The performers are Tewodros Aregawe, Goitom Fesshaye, Emirjon Hoxhaj and Syed Haleem Najibi, all of whom came to the UK between 2013-15 as Unaccompanied Asylum Seeking Children. Phosphoros Theatre are committed to making work that offers an alternative perspective on the refugee experience, using the lived experiences of the company to inform their performances.

Pizza Shop Heroes begins in – unsurprisingly – a pizza shop. The four young men are working, taking calls and dealing with awkward customers. But this setting is only a very small part of the story and characterization here. The eponymous pizza shop is immediately brought to life with verge, energy and humour, but it is really a staging-post, a device to bring the four men (and their stories) together.

The performance starts with a set of rules – beginning with the usual warnings to switch off mobile phones and not talk during the performance. However, the rules develop into more of a comment on the type of storytelling we’re going to be watching. We’re encouraged not only to listen, but think about how we’re listening. We’re told to avoid earnest chin-in-hand gestures, for instance (something which caused a couple of audience members to shift slightly in their seats). The instructions develop further, laying out directives on how we should receive the stories we hear. Inconsistencies should not be taken as indications of falsehood, and we have no right to judge the credibility of the storytellers. This performance builds into a clear reminder that the young men on stage have told their stories numerous times before, to various officials (border guards, police, social workers, education officers) who have made assumptions and judgements about veracity based on the manner of telling, and to people offering assistance who have attempted to frame and shape the narrative into a more ‘acceptable’ form. This time, the men’s stories will be told how they want to tell them.

Tewodros (Teddy), Goitom, Emirjon and Syed travelled to the UK from Eritrea, Albania and Afghanistan as Unaccompanied Asylum Seeking Children. As the theatre piece unfolds, snippets and glimpses of their childhood experiences and the circumstances that led to their journey emerge. These are presented differently and in a somewhat fragmentary way – Emirjon remembers rabbit hunting in Albania, Goitom explains the fear of being forced into the army as a child – but the main focus on the piece is on the journeys the four took to escape conflict.

One of the really powerful things about Pizza Shop Heroes is the way the piece plays with difference and similarity. At times, each of the young men reveals something specific and unique about his experience or the circumstances from which he escaped, giving voice to the individuality of each refugee’s story. However, the piece brings these stories together into ensemble performances that merge the individual tales into a collective experience, stressing the echoes and parallels in the boys’ tales. Some elements of the story – the fear on arriving in an alien country, for example – transcend the particulars of individual lived experiences. Nevertheless, Pizza Shop Heroes is careful not to fall into universalizing – and when the boundaries become a little too blurred, there is some light-touch humour to reshape it (at one point, Goitom pauses mid-act and asks ‘Wait, whose memory is this?’)

Though the show addresses some very serious subject matter – from war and terrorism to grief, regret and fear – it is far from grim. The humour in Pizza Shop Heroes is very well-handled, as it punctuates the stories without undermining or trivializing them. There is a powerful humanizing effect in the use of wry jokes about cultural misunderstandings – one bit in particular, where Syed recounts the response he got to giving a teacher a bottle of Head and Shoulders as an Eid gift, brings the audience and performer together in a subtle but companionable appreciation of the dramatic irony.

The only criticism I have is that I’m not convinced by Kate Duffy’s on-stage facilitation and artistic direction. Sitting on the side-lines, encouraging the men to translate into English lines spoken in their first languages (which they sometimes do, and sometimes don’t), or taking on the part of one of the characters in a particular part of the story (like Emirjan’s uncle at the beginning of the rabbit-hunting memory), Duffy’s role feels a little too close to that of a workshop facilitator, which sometimes dilutes the immediacy of the young men’s narration, especially when she brings in her own personal experiences of working with Asylum Seeking Children.

Nevertheless, the narratives of Pizza Shop Heroes very much achieve Phosphoros Theatre’s stated aim of offering an ‘alternative perspective’. As well as offering memories of the past and commentary on the present, the piece moves towards a moving and compelling performance about the (potential) future, as the young men imagine fatherhood and the ways their own stories will shape the lives and ambitions of their children – including their desire to prevent their children being forced into adulthood before they’re ready. Humorous, emotive and ultimately filled with hope, the imagined future offers a strong and thought-provoking climax to the young men’s narratives.

Overall, Pizza Shop Heroes is a powerful, dynamic and highly engaging piece of theatre. I genuinely found myself disappointed when it came to an end, as it is more than successful in its aim of getting audiences to sit and listen to the stories the young men have chosen to tell. I would happily have listened to a lot more from them. Phosphoros Theatre are currently touring the piece around the UK, and if you have chance to catch one of the performances I’d definitely recommend you take it.

Pizza Shop Heroes is on at HOME, Manchester on the 4th-5th October, as part of the Orbit Festival, and then at other UK venues until December. To see more about the Orbit Festival 2019 programme, please visit the HOME website.

Review: The Thunder Girls (Blake and Squire)

Thursday 26th September 2019
The Lowry, Salford

On Thursday 26th September, I was at The Lowry in Salford for the press night of Blake and Squire’s The Thunder Girls on behalf of North Manchester FM. I’ll be playing the radio version of my review on the station on Tuesday, but here’s the blog version…

Photo credit: Rob Martin and Blake & Squire

Written by Melanie Blake and directed by Joyce Branagh, The Thunder Girls was on at The Lowry from 24th-28th September. I was at the press night on Thursday 26th September, which saw a rather enthusiastic crowd attend. Unusually – almost unheard of – for a debut play, The Thunder Girls sold out its entire run at The Lowry, and the press night was certainly full to capacity.

Based on Blake’s novel of the same name – which she adapted for the stage with Fiona Looney – The Thunder Girls tells the story of an 80s girl band who are brought back together 30 years after an acrimonious split. The play is (almost) entirely carried by the four actors playing the members of the band, with just one other character ‘appearing’ through phone calls made on speakerphone. Undoubtedly, part of the reason for the play selling out its run was the cast – and more on that anon – but (and this was certainly true on press night), there was also a great deal of curiosity as to how Blake’s script would be informed by its writer’s experience of working in the music biz – and of orchestrating reunion gigs for 80s bands.

The play is billed as being about the ‘Reunion Dinner from Hell’. While this is certainly a fair description of Blake’s novel, it doesn’t quite seem accurate for the play. The play takes in the lush – if somewhat brash – mansion (created with some excellent attention to detail in Richard Foxton’s set design) belonging to Chrissie, the Thunder Girl who split the band all those years before, took the copyright and royalties and forged a successful solo career to the disgust of her former bandmates. Chrissie and the band’s former manager Rick have summoned Roxanne, Anita and Carly to the house – but there doesn’t appear to be any dinner on offer! Instead, the women work through their festering resentments with a hefty side order of Prosecco, which they down liberally throughout the show.

Photo credit: Rob Martin and Blake & Squire

The first to arrive at the house – and the first person we see on stage – is Carly, played by Sandra Marvin. Carly was the youngest member of the Thunder Girls, but she was the songwriter behind their greatest hits, which she has been prevented from playing solo due to legal wranglings over rights with Chrissie. Carly is followed by Roxanne, played by Beverly Callard, who has fallen on harder times since the band split. Roxie is a heavy-drinking single mum, who is trying to make ends meet running a clothes shop. After some back-and-forth between Carly and Roxie, Chrissie (played by Carol Harrison) makes her entrance – but it’s not until the end of the first act that we meet the fourth Thunder Girl, Anita (played by Coleen Nolan), who has been missing since a disastrous Eurovision performance.

The Thunder Girls is really very well-cast. Blake has been hands-on with most aspects of the production, and she cast the show herself (with Angela Squire). There are some well-judged decisions made. Callard, Harrison and Marvin are all well-known from soap operas, meaning that they are well able to handle the high-drama, histrionics and stinging dialogue. (And this is the only play I’ve seen this year that’s listed a ‘Cat Fight Director’ (Kaitlin Howard) in its programme!) The casting of Nolan as Anita adds a nice extra layer of self-referential humour, as not only was Nolan (of course) in a famous 80s girl band, but it was Blake herself who brought about the band’s reunion tour in the 2000s. The final performer is Gary Webster, who is voice of Rick, playing Charlie to the Thunder Girls’ Angels but also, perhaps, one of the architects of their various misfortunes.

Photo credit: Rob Martin and Blake & Squire

Of the performances, Callard and Nolan were real standouts for me. Callard is really very funny as Roxie – she gets some fantastic lines, which are delivered with lovely northern relish – but she also imbues the character with a sweet vulnerability full of regrets and sadness. Nolan is great as Anita, revealing a strong sense of comic timing that hits the right notes. Marvin and Harrison are also very watchable, though they don’t quite get the opportunity to stretch their range. Marvin’s Carly is the band member who seems to be most content, but the points at which her smiley optimism cracks offer the more interesting performance. She also gets to deliver a hilarious retort to being asked if she’s had a boob job (‘Nah. It’s cake.’) Harrison begins the play as an unrepentant villain, but the second act introduces some more compassionate interactions with Roxie to soften her character.

That said, there are few surprises in characterization here – in many ways, the appeal of The Thunder Girls lies in familiarity, rather than shock, and so the character arcs play out pretty much as we might expect. Of course, that doesn’t mean it isn’t fun to watch. Even though I had a pretty good idea from the start where things were going, I still found myself genuinely caring about the four women and their friendship. Admittedly, there were a couple of fluffed lines here and there, but the cast made up for this with some well-judged ad libs at other points. At one point, a line about Steps provoked a rather dramatic reaction (and some visible corpsing from the cast), due Claire Richards being in the audience. To be honest, I think this was completely forgivable though, as the audience felt like we were all in on the joke.

Photo credit: Rob Martin and Blake & Squire

The Thunder Girls isn’t a musical, but it does include some music (written by Blake, with Lee Monteverde and Jack Wheeler). Each of the characters performs a solo song and, as you may well expect, there is a group number at the end. The solo numbers did feel a little bit superfluous, as they mostly just reiterated aspects of plot and character from the dialogue. The final number was a lot of fun, and certainly got the audience to their feet. However, the Thunder Girls’ big number (supposedly their signature tune) is a little anachronistic. Musically, it feels far more 1990s than 1980s, and I struggled to imagine it being a hit thirty years ago.

But overall, The Thunder Girls is a very enjoyable show, with some excellent (and very funny) dialogue, and a rare opportunity to watch older female characters taking centre-stage and talking about age, life experience and regrets in an engaging, humorous and honest way (except for Chrissie, who isn’t admitting her real age). If the show does tour, I can see it being a great success, and it’s a definite recommendation from me.

The Thunder Girls was on at The Lowry, Salford on 24th-28th September.