Review: Total Slag and To Tell You the Truth (JustOut Theatre)

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JustOut Theatre

In this post, I’m going to be reviewing two more radio plays by JustOut Theatre Company: Total Slag and To Tell You the Truth. I’m going to be broadcasting the radio version of these reviews on Saturday’s edition of Hannah’s Bookshelf on North Manchester FM. But here’s the blog version…

In a previous post, I gave a bit of introduction to JustOut Stays In, a series of radio plays that have been written, directed and produced by northern creatives. The plays are currently available to listen to, for free, on YouTube and Soundcloud. Links are also available on the JustOut Theatre website.

I’ve been reviewing the plays in pairs, so today I’m going to be talking about two more of the pieces: Total Slag by Sophie A. Mitchell and To Tell You the Truth by Daniel Kearney.

Now, to tell you the truth (haha!), I’ve been a little bit random in how I pick the pairs for my reviews. The plays are quite eclectic, and the blurbs don’t always give you a full sense of tone and style (which is something I like about fringe theatre, so I’m enjoying the surprises that come with this series). But pairing Total Slag with To Tell You the Truth was absolutely the right choice. These pieces sit together very well, though both deal with some rather raw and painful stuff, so it’s a little bit of a tough experience listening to them back to back. Non-literary as it may be to say, I just wanted to give both of the narrators here a hug after I’d listened.

I’ll start off with Total Slag, which was actually the first play published in the series.

Written by Sophie A. Mitchell and directed by Ben Wilson, Total Slag is a monologue, in which Cheryl, a sixth form student (performed by Sophie Parkin) explores her relationship with the insult of the title.

Cheryl begins by announcing that, although other girls might idolize celebrities like Zoella and Kylie Jenner, her role model is actually Rizzo from Grease. She riffs off the words to ‘There are Worse Things I Could Do’ to explain why Rizzo is a character she admires – even though most people her age have never heard of Grease.

Cheryl’s celebration of Rizzo is, by turns, funny – I particularly enjoyed her comparison of Rizzo from Grease with Greta Thunberg (trust me, it does make sense) – pointed and, though Cheryl claims otherwise, vulnerable. Cheryl isn’t so much reclaiming the insult ‘slag’, but exploring what it might mean and how it is used. With a light touch, Mitchell weaves in small details about Cheryl’s home life, and the relationships she has with her peers. Parkin’s performance of this is confident, assured and articulate (though Cheryl claims not to know how to pronounce ‘thesaurus’). As an adult listening, it’s easy to see through the gaps in this teenage self-narration, and there are times when the audience can feel angry on Cheryl’s behalf, even though the character herself is devoid of self-pity.

What’s interesting in the characterization here is the way Cheryl avoids laying blame at anyone’s feet. Although she does make a couple of comments on her mother’s life choices, and some snap-back type statements about other people at her school, Cheryl squarely shoulders the responsibility for her own choices. Her sex life – and her sexuality – is her own decision, and it’s a carefully thought-out decision. Cheryl’s monologue is, perhaps, most surprising when she calmly works through the reasoning behind the choices she has made.

Of course, as both plays explore, choices (no matter how deliberate you think they are) have consequences. And the second part of Total Slag deals with Cheryl facing up to those. I’m not going to say too much about what happens, except to praise Mitchell’s writing here. The direction the narrative takes could have resulted in something clichéd, melodramatic or even didactic, but she avoids those pitfalls. Instead, we have something heartfelt and moving, but also refreshingly realistic and matter-of-fact.

Speaking of ‘matter-of-fact’, time to turn to the other play I’m looking at in today’s post.

To Tell You the Truth which was written by Daniel Kearney and directed by Andy Yeomans. This is another monologue from a woman, though Kearney’s character is older and at a very different stage of her life than Cheryl. Gerry Johnson plays Lynn, an older woman reflecting back on a failed marriage – or so we’re initially led to believe.

Johnson’s performance is great here. Everything is delivered, as I’ve said, in a matter-of-fact tone, and – as with Total Slag – both the writing and the performance side-step melodrama in favour of something much more searing.

Lynn’s ‘truth’ is revealed slowly. We begin with hints of heavy drinking and a marriage that, if it didn’t start out that way, ended as loveless. ‘You married the wrong girl,’ Lynn remembers telling her husband – the ‘good man’ that she couldn’t keep hold of. In the opening part of her monologue, Lynn repeats the phrase ‘to tell you the truth’, but it’s only towards the end that she really does – and the truth she tells really does pack a punch.

As with Cheryl in Total Slag, Lynn is living with the consequences of choices she has made. However, also like Cheryl – though much more explicitly – Lynn is also living with the effects of circumstance. She talks about things she’s done, but the story that emerges is more about what was done to her. Lynn hasn’t told the truth before, and the monologue is (perhaps) at its most raw when she explains the reasons why not.

I’m really pleased that I randomly chose to pair these two plays. They work very well as companion pieces. Although they present themselves in different ways, Lynn and Cheryl have a lot in common, and so listening to the two dramas together enriches both stories. With excellent writing and performances, these are two monologues that evoke an incredibly strong sense of sympathy, rather than pity, for the characters. Neither sentimental nor melodramatic, these two short plays are hard-hitting, but very very human.

JustOut Stays In continues to impress, and I strongly recommend you check out the audio series.

Total Slag and To Tell You the Truth are part of the JustOut Stays In series of radio plays. They are available to listen to on the JustOut Theatre YouTube and Soundcloud pages. Please visit the JustOut Theatre website for more information.

Performers Wanted for (Not Quite) Live Poetry Special

Want to perform your poetry on the radio?
The annual Hannah's Bookshelf Live Poetry Special is back! (A little bit late, and with some slight changes...)

On Saturday 19th September, Hannah’s Bookshelf on North Manchester FM will be hosting a (Not Quite) Live Poetry Special. I’d like to invite poets and spoken word performers to get involved and perform their work on the show.

Due to COVID restrictions, it won't be possible to invite performers into the studio this time, so I'll be asking poets to pre-record their performance with me prior to the show. The good news is that means we can invite poets from anywhere in the world to perform, as geography isn't a barrier this time!

Whether you’re a veteran performer or new to reading your work, I’d love to hear from you. Drop me a line via email, tweet me or message me on Facebook if you’d like to perform or would like more information about how to take part. Slots are limited, and will be allocated on a first-come-first-served basis.

The Hannah’s Bookshelf (Not Quite) Live Poetry Special will be going out on North Manchester FM on Saturday 19th September at 2-4pm. It will be broadcast on 106.6FM (in the North Manchester area) and online (for the rest of the world). Performance slots are 6 minutes long.

Review: Turkey Sausage Roll (Karen Cogan)

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HOME, Manchester

In this post, I’m continuing my blog reviews of the Homemakers series of commissions from Home, Manchester, a programme of digitally-accessible creative content that can be enjoyed from the comfort of your own home. This post is a review of Turkey Sausage Roll by Irish actor and writer Karen Cogan. The radio version of this review will be going out this Saturday on Hannah’s Bookshelf on North Manchester FM, but, as always, here’s the blog version…

Turkey Sausage Roll is a short film, written and directed by Karen Cogan, which is a co-commission by HOME and the RADA Festival. Unlike the other films from the Homemakers series that I’ve reviewed so far, Turkey Sausage Roll isn’t explicitly about either COVID-19 or the lockdown. The format is definitely dictated by the lockdown restrictions – of course – but the piece doesn’t make an explicit response to the pandemic. But it is about death. And isolation.

Karen Cogan’s film is a monologue, performed by Faoileann Cunningham. It’s shot in an empty pub (with some occasional cutaway shots of Cunningham outside), and our focus is entirely on the performer throughout. Cunningham’s character is going to tell us a story, and it’s a story about when she had a very bad day. Cunningham’s unnamed character begins by telling us about a smell. A smell like fish, or is it someone cooking tripe? In the venerable tradition of theatrical (and televised) monologues, Turkey Sausage Roll hooks us in with something odd, mundane and slightly vague, before taking us on a journey to more profound territory. And what a compelling journey it is too.

The unnamed narrator’s bad day is the funeral of her best friend, which she is attending in the (not altogether welcome) company of her girlfriend Frankie and her Aunty Una. I don’t think I’m giving too much away by saying that this is a story about grief, but it’s a story about grief that involves the narrator clutching a greasy turkey sausage roll in one hand (from Aunty Una’s purple Tupperware) and swigging ‘gin from a tin’ (that she’s extracted from where it was hidden in her jeggings) in the other. By telling the story of the day of the funeral itself, Cogan’s script explores difficult territory – there’s a brutality to the grief on show here, of course, but she also perfectly captures the numbness and surrealness of that moment of goodbye. Turkey Sausage Roll isn’t raw, but rather balances on a knife-edge between detachment and pain.

Cogan’s script is conveyed wonderfully by Faoileann Cunningham, whose performance had me gripped. For much of the piece – aside from those quick cutaways I mentioned before – we are focused almost entirely on Cunningham’s face. She isn’t made-up, and her hair is tied back tightly in a ponytail, emphasizing the sense of nakedness and vulnerability in her performance. She moves through the emotional stages of the story with precision and style, but also in a way that makes the whole story both plausible and deeply sympathetic. There are times when Cunningham’s character seems incredibly young, tapping into the deep and implacable emotions of childhood; however, as we find out, she is also a woman on the verge of definitively growing up, and there are points at which she is, as the verse goes, forced to put aside childish things and see, through a glass (or a tin of gin) darkly.

I think one of the things that really grabbed me about Turkey Sausage Roll is the way that Cogan’s script, while very much focused on a short and specific moment in time, is able to conjure a bigger story and a whole relationship – despite the fact that the relationship has ended before the monologue even begins. It’s very easy to imagine the narrator and her best friend, and some details were particularly vivid (and some of the more off-beat anecdotes were wonderfully told). Also vivid was Aunty Una, a character who hovers around the periphery ‘wearing a purple skirt with a matching jacket like it’s 1987’ and proffering the eponymous meat-filled pastries. Dismissed by the narrator as a frustrating older woman with strange taste and a penchant for aggressively singing Ave Maria at funerals, Aunty Una appears more like a spectre of older womanhood – what happens when quirkiness reaches its autumnal years. I couldn’t help but see a parallel between the narrator’s tale of her best friend’s ‘awful’ ruby ring, and Aunty Una’s inexplicable parrot earrings.

Now, although I’ve said that this piece is not a direct response to COVID, it is a piece of socially-distanced lockdown art, and this does have an impact. Cunningham performs entirely solo in an empty (presumably closed) pub. I’m in two minds as to whether this setting really works for the piece. On the one hand, the setting evokes the feeling of isolation and emptiness one might feel after a wake, when the other funeral attendees have gone home. On the other, this seems to belie the tentative conclusion of the piece – the narrator is telling a story that ends with some sense of connection, but in an entirely disconnected way. This is probably an unavoidable effect of the restrictions placed on production, but I found it interesting the way the backdrop combines with the final lines of the monologue to leave the audience pondering what might happen next, or what message they might take from the story.

Turkey Sausage Roll is a short film – just over 23 minutes running time – but I could easily imagine this being adapted as a stage performance. Although the short film format is used well, and the editing by Adam Lansberry is slick and well-handled, this piece encourages us to focus almost entirely on character and story.

Overall, Turkey Sausage Roll is a very human story, told and performed with charm and style. It’s painfully sad at times, but also really funny at others. I’d definitely recommend you check this one out. It’s quite different from the other Homemakers pieces I’ve watched so far, which should give you an idea of how varied and diverse the material in the series is.

Turkey Sausage Roll is available to view via the HOME website until 31st December 2020. Please visit the HOME website for more information or to book tickets.

Review: ABC (Anything But Covid) (Ugly Bucket)

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HOME, Manchester

In this post, I’m going to be continuing my blog and radio reviews of the Homemakers series of commissions from Home, Manchester, a programme of digitally-accessible creative content that can be enjoyed from the comfort of your own home. This post is a review of ABC (Anything But Covid) by Ugly Bucket. The radio version of this review will be going out on next week’s episode of Hannah’s Bookshelf on North Manchester FM, but here’s the blog version…

ABC (Anything But Covid) is a short film by Ugly Bucket, an award-winning physical comedy company based in Liverpool. It’s a very short film – it’s just under nine minutes long – but I have to admit I’ve already watched it a few times, which should serve as a bit of a hint that this is going to be a positive review! Ugly Bucket describe the film as being about ‘the pressures of staying productive in lockdown’. As with A Small Gathering (another Homemakers film I reviewed in a previous post), ABC is a direct response to lockdown, particularly the isolating and disconcerting effects of the ‘stay at home’ message for people living alone.

Directed by Grace Gallagher and Rachael Smart, and featuring Adam Baker, Angelina Cliff, Canice Ward, Mother Crystal, Quinney Barella, Grace Gallagher and Jess Huckerby, ABC is not quite what I was expecting. I knew that Ugly Bucket (who have previously performed at the Greater Manchester Fringe) are clowns, but in a kind of edgy way, and I knew that this film was going to offer a ‘how to’ guide to staying productive during lockdown. But while I knew roughly where the film was going to start – a company of clowns was going to perform physical comedy about keeping busy in lockdown – I wasn’t quite prepared for where it went.

The film begins with a black screen and a vox pops-style voiceover. ‘Lockdown hasn’t actually been that bad for me,’ the voice says, and the black screen slowly fades out to reveal a face, clown make-up smeared, false eyelashes detached, staring directly at the camera (and, of course, at the audience). The face does not look like it belongs to someone who’s having a great lockdown.

The video styles itself as a motivational video to encourage people to pursue productive and creative pass-times at home. To almost maniacally cheerful music, cartoonish performers mime baking, painting, yoga and self-care, while captions – ‘Let’s Bake!’, ‘Let’s Run!’ – appear on the screen in a chirpy font. The voiceovers continue, with people talking about how they’ve discovered skills and talents during lockdown that they didn’t know they had.

The comedy in the first part of the film comes from the gleeful juxtaposition of the upbeat voiceovers and music with the clownish actions of the performers. The baked cake looks revolting; the artwork is clumsy. There’s some gentle mockery of some of the national lockdown pass-times, with a quick shot of something that looks a lot like P.E. With Joe, for instance.

But it’s what happens next that really captured my attention. As the frenetic pace of the ‘productivity’ increases, and the performers begin to look exhausted and overwrought with the efforts, the voiceovers begin to seem more desperate in their insistence on positivity, and there’s a hint that things are going to unravel.

And boy, do they unravel. I’d love to go through the second half of the film in detail, and talk about all the visual imagery, filming techniques and stylistic shifts that occur, but I really do think that would be a spoiler (and I don’t like to give spoilers without warning!).

Suffice to say, the disintegration of the maniacal faux-positivity of the ‘Let’s Go!’ sequences is both arresting and disturbing, and I really wasn’t prepared for just how far the physical performances would mutate, or how they would incorporate elements of horror (including – and this is a warning, not a spoiler – moments that come awfully close to actual body horror). It’s a dazzling escalation, with accomplished performances, but also assured direction and editing bringing the whole piece together so it feels like a coherent piece, rather than a fragmented montage.

ABC – and Ugly Bucket’s work more broadly – is part of the, often dismissed or misunderstood, tradition of clowning. They refer to themselves as being ‘serious about silliness’, but the flip side is that they are also ‘silly about seriousness’. ABC uses the subversive – and often uncomfortable – figure of the clown to unsettle and challenge, while also being a rather daft piece of slapstick that pokes fun at cultural and societal norms. Nevertheless, while Ugly Bucket certainly have their roots in an old tradition, there’s something fresh and new about their work. Their visual style and costuming is one-step removed from the theatrical and circus tradition, with whiteface make-up, curly wigs and sponge noses being replaced by plastic hair pieces, face paint and glitter that look like a sort of cross between a children’s TV character and a SnapChat filter.

While the film definitely lampoons certain pass-times, and comes close to mocking those who engage in them – for instance, the art sequence feels like it’s almost ridiculing those untalented amateurs who believe their lockdown doodles ‘aren’t half bad’ – the comedy here isn’t cruel or derisory. Instead, the film serves as a sort of snapshot of a psyche disturbed by the pressures of staying positive and productive. Whether you choose to see that as an individual or collective psyche is up to you.

In some ways, ABC is a film about boredom. Although the film is (obviously) COVID-inspired, there is little mention of the virus itself, outside of some clips of Boris Johnson announcing the lockdown. The film addresses pandemic-related fears, but it is more fear of boredom than fear of illness and death that is presented here. In fact, the film suggests that it’s not even boredom we need to fear, but the effects of forcing ourselves not to be bored.

As you can tell from this review, I very much enjoyed ABC. It was a surprising – borderline startling, in places – and unsettling take on lockdown concerns, with assured performances and confident direction. It’s a short film, but it packs a real punch, and I’d highly recommend you watch it (and maybe even more than once).

ABC (Anything But Covid) is available to view via the HOME website until 31st December 2020. Please visit the HOME website for more information or to book tickets.

Review: A is for… and Accident of Birth (JustOut Theatre)

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JustOut Theatre

In this post, I’m going to be reviewing two more radio plays by JustOut Theatre Company: A is for… and Accident of Birth. I’m going to be broadcasting the radio version of these reviews on next Saturday’s edition of Hannah’s Bookshelf on North Manchester FM. But here is the blog version…

In a previous post, I gave a bit of introduction to JustOut Stays In, a series of radio plays that have been written, directed and produced by northern creatives. The plays are currently available to listen to, for free, on YouTube and Soundcloud. Links are also available on the JustOut Theatre website.

I’ve decided to review the plays in pairs, so today I’m going to be talking about two of the pieces: A is for… by Jilly Sumsion and Accident of Birth by Trevor Suthers. And I’ll start with A is for…

As with Liam Gillies’s Laugh Track, which I reviewed in a previous post, Jilly Sumsion’s A is for… (directed by Ben Wilson) is a very short piece. At just over five and half minutes long, it’s a bit of a microplay. In fact, of the JustOut Stays In plays I’ve listened to so far, this is the one that’s closest to being a monologue. It’s a glimpse into the thoughts of a single character, at a particular moment in time.

That character is Hester, a seamstress (played by Nikki Patel), and the time is 1665. A is for… is set in Eyam, the Derbyshire village that famously quarantined itself to prevent the spread of plague in the seventeenth century. Hester is one of the village residents caught inside this lockdown, and we listen as her thoughts take a dark turn.

But it’s not simply quarantine or plague that is darkening Hester’s world. In the blurb for this play, Sumsion states that it was inspired by Nathaniel Hawthorne’s The Scarlet Letter, leaving us (I guess) in no doubt as to what A is for. Hester is a woman scorned, and her monologue revels in thoughts of vengeance and retribution, but is also laden with talk of guilt, shame and humiliation. This is compounded by the oppressive religious lessons woven throughout – the only other voice we hear is that of Jude (played by Rob Peters) intoning Christian lessons – which comes to feel rather threatening.

Patel’s Hester is a well-written and well-performed character. The emotional shifts are handled competently, allowing the listener to have sympathy while still feeling discomfort at the story (and the sentiments) that are unfolding. Bitterness is perhaps the emotion that’s most tangible, but this isn’t overstated. There are shades of Browning’s ‘The Laboratory’ throughout – particularly in Hester’s final lines – but Sumsion’s script sidesteps the melodrama and verbosity of Browning’s poem, in favour of drawing out the human emotion behind the drama.

One aspect of A is for… that I particularly enjoyed was the understated way in which parallels were drawn between the quarantine in Eyam, and the current pandemic. This play is far from the only creative response to the COVID-19 pandemic that has sought to make the connection with seventeenth-century Eyam, but Sumsion’s play makes the comparison with a light touch. Lines such as ‘we’d been told to stay indoors’ and ‘soon we may be able to travel’ allow the audience to make a comparison with the 2020 lockdown, but the point isn’t laboured.

The effect of this comparison is to further heighten the situation in which Hester finds herself, and to underline the oppressive nature of the small, closed community (and Hester’s proximity to the source of her bad thoughts). The nods to lockdown guide our understanding and – perhaps – our sympathies.

A is for… is a compelling and well-performed monologue, and I’d definitely recommend you give it a listen.

Now, the second of the pair of plays I’ve chosen for this post is completely different. Trevor Suthers’s Accident of Birth is a two-hander that runs at just over half an hour. The characters are Margaret (played by Barbara Ashworth) and Antony (played by Kieran Kelly), and the play is a conversation between the two.

Margaret and Antony’s relationship is clear from the start. Margaret is Antony’s mother – his birth mother – who gave him up for adoption. Antony, now an adult, is incarcerated in a secure psychiatric unit of some kind (the play’s blurb specifies that it is Broadmoor), for a series of crimes that are never detailed. Antony has a personality disorder (again, the exact nature of this isn’t explained), and he is curious as to whether this is some sort of flaw inherited from his birth parents. It’s also clear that this is the first time Antony has been able to meet Margaret, and so it’s the first time he’s been able to ask the questions that are clearly pressing on his mind.

Accident of Birth is a play about nature vs. nurture, as Antony tries to reconcile the crimes he’s committed, and the personality disorder he’s been diagnosed with, with the happy and loving childhood he experienced with his adoptive parents. More than this though, Suthers’s story explores the very human desire for explanation and meaning – the search for a reason why things (especially bad things) happen. It touches on the fallibility of our memories and the effects of trauma as well.

If all that sounds rather heavy, that’s because it is! There are some big ideas covered in the play. However, a combination of Suthers’s script, which couches the bigger existential questions in anecdotes about bus conductors and wage slips, and Ashworth and Kelly’s performances invites the audience to engage with Margaret and Antony’s meeting on an emotional, rather than simply intellectual, level. Kelly’s Antony is convincingly skittish and demanding – at one point managing to imbue the mundane phrase ‘Fares, please’ with a sense of undefined menace. Ashworth performs Margaret’s lines with a mask of restraint, but there’s a whole world of pain, guilt and fear behind it. While the script focuses on Antony’s story, there are tantalizing hints of Margaret’s own backstory here and there as well.

Credit should also be given to Becky Lennon’s direction and Ben Wilson’s editing here. I’m not sure how – exactly – the recording was done. I know that JustOut Stays In is a lockdown-appropriate, socially-distanced performance, but I was really struck by the sense of proximity that is created here. Whether or not it was recorded this way, I felt as though Margaret and Antony were in the same room, just close enough to touch (though prevented from doing so by the unnamed, silent guard).

Accident of Birth is a narrative about nature, inheritance and the search for answers. Does it provide those answers? Does Antony even ask the right questions? Ah well, you’d have to listen to the play to find that out.

I highly recommend both A is for… and Accident of Birth. The JustOut Stays In plays continue to impress me, and I’m very much looking forward to seeing what the company have to offer next.

A is for… and Accident of Birth are part of the JustOut Stays In series of radio plays. They are available to listen to on the JustOut Theatre YouTube and Soundcloud pages. Please visit the JustOut Theatre website for more information.

Review: Hunting Swans and Laugh Track (JustOut Theatre)

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JustOut Theatre

I’m very pleased to be back to reviewing performances again – despite the fact that live theatre is still on hold due to COVID restrictions. In this post, I’m going to be reviewing two short radio plays by JustOut Theatre Company: Hunting Swans and Laugh Track. I’m going to be broadcasting the radio version of these reviews on Saturday’s edition of Hannah’s Bookshelf, which is back after a not-quite-as-brief-as-I’d-hoped absence on North Manchester FM. But here is the blog version…

JustOut Theatre is a relatively new company, launched just last year in York but currently based in Manchester. The pieces they staged last year were toured around some of the country’s fringe festivals – and regular readers of my reviews will know that I do love fringe theatre.

With social distancing restrictions and the cancellation of all live performance events since March, fringe festivals – including my beloved Greater Manchester Fringe – have been put on hold, so there’s been very limited opportunities to see the work of new and emerging companies like JustOut.

However, JustOut have been working on a lockdown-suitable project to showcase a bit of northern talent, and I’m pleased to say I’m going to be reviewing this project, piece by piece, over the next few weeks.

The project is called JustOut Stays In, and it’s a series of radio plays – or, perhaps more accurately, since they’re not currently being broadcast on the radio, audio dramas – written, directed and produced by northern creatives. The plays vary a bit in length, and vary massively in subject matter and tone – it’s an eclectic assortment – and they’re currently available to listen to, for free, on YouTube and Soundcloud.

I’ve decided to review the plays in pairs, so in this post I’m going to be talking about two of the pieces: Laugh Track by Liam Gillies and Hunting Swans by Ellen J. Baddeley. Both plays are two-handers, but they are really quite different pieces.

First: Hunting Swans…

Baddeley’s play is the story of a relationship. And, unusually, it’s a story that begins after the end. Phillip (played by Ewan Mulligan) and India (played by Abi Cameron) have split up before we even meet them. The play begins with India returning to the house they briefly shared for a (possibly) final conversation. From there, we are taken through some short flashbacks, little glimpses into the relationship these two young people once had.

The couple meet by a lake in a swan sanctuary, and (as the title suggests) swans are a recurring motif throughout the play. Swans, we are told a couple of times, mate for life, and so appear to be a romantic emblem of a burgeoning relationship. However, as we know from the opening, this relationship somehow failed, lending the motif a bittersweet tone.

Phillip and India are contrasting characters, in some ways, with Phillip’s rather selfish idealism sometimes clashing with India’s pragmatism. At other points, though, they appear to be very well-matched. There is a sadness is both characters, which comes through subtly in Baddeley’s script with moments of backstory and exposition being brief and quickly laughed off by the two characters. Added to this, despite the tender age of their characters (they are both in their early twenties) Mulligan and Cameron’s performance give them a maturity at times, making each character sometimes seem older than their years. Of course, part of the sadness comes from the fact that these moments of maturity don’t happen in sync, highlighting the fact that Phillip and India are no longer walking in step – or perhaps they never were.

Shannon Raftery’s direction is assured, and the play is well-paced and unhurried. It’s just over twenty-four minutes long, but it feels like it tells a much bigger story than its run-time suggests. And yet, at the same, it’s a very small story (and that’s not a criticism). I don’t want to say too much about the way the story develops, but I was left with the feeling afterwards that this was a moment in Phillip and India’s lives, and that things would soon move on. I guess, if the beginning starts after the end, then the ending is really the beginning.

Hunting Swans is an engaging piece of drama with just the right amount of melancholy wistfulness. It’s testament to the writing, performances and direction that I felt like I knew Phillip and India (and cared about them) in such a short space of time.

Moving on to the second play, and an even shorter running time! Liam Gillies’s Laugh Track is just over seven minutes long, and I was concerned when I saw that that this wouldn’t really qualify as a ‘play’.

I was wrong. Laugh Track is a fully realized piece of drama. Yes – I think it might have potential to be extended, but it actually works very well at the shorter length.

Laugh Track opens with two women (played by Julia Romano and Jessica Porter) chatting about dating and relationship disasters. Their humour is broad and a little bit stereotypically northern, with each line building towards a series of blunt punchlines. And with each punchline comes that old comedy standby: the laugh track. And what an irritating laugh track it is too. I’ll freely admit that on the first blast of it, I was wary about continuing to listen. The sort of comedies that use laugh tracks are generally not the sort of comedies I like.

However. All is not what it seems. And it is very definitely worth enduring the initial distaste at the sound effect for a quite surprising little journey into very strange territory. And the sort of journeys that take you into strange territory are absolutely the sort of journeys I like.

The brevity – or rather, conciseness – of Gillies’s script means that we aren’t given any background or context for what unfolds. The JustOut website suggests that the two women’s performance is part of a ‘television sitcom’, but I was actually imagining a radio broadcast.

Laugh Track is a good example of a radio play, rather than a play that has been adapted for radio format. While it’s possible to imagine Hunting Swans being performed live on a theatre stage, Laugh Track is very much a piece of audio drama. The format is used to good effect, and the story itself relies on the denial of the visual to conjure a world in the listener’s imagination that would, in fact, be weakened by a visual representation. Liam White’s direction and – significantly – Ben Wilson’s editing help to pace and punctuate the performances in a way that unsettles and entertains.

I really don’t want to give too much away about this one! But Laugh Track is a compelling story with an original and surprising idea at its heart. The way the performance unfolds ensures that an entire ‘world’ appears in the listener’s mind, with only a few explicit prompts. It uses the audio-only format to make suggestive comments about the nature of comedy and the deceptive comfort it provides. And it appealed to my own personal tastes as well: I’m generally not a fan of comedy horror, but I do enjoy horror about comedy. There’s something very disturbing about the contrast between the mundane dialogue and asinine laugh track and… well… what comes next.

The fact that I have spent more time thinking about Laugh Track than I did listening to it should be an indication that I strongly recommend this one. It’s definitely a story that lingers with you afterwards. But I also recommend checking out Hunting Swans, and I think it’s to JustOut Theatre’s credit that the series contains two pieces that are so different in tone and style. I’m looking forward to listening to the rest of the JustOut Stays In series to find out what else it has to offer.

Hunting Swans and Laugh Track are part of the JustOut Stays In series of radio plays. They are available to listen to on the JustOut Theatre YouTube and Soundcloud pages. Please visit the JustOut Theatre website for more information.

Review: A Small Gathering (Ad Infinitum)

Online
HOME, Manchester

Prior to lockdown, you may remember that I regularly posted theatre reviews on this blog, usually ahead of broadcasting a review of the production on my show, Hannah’s Bookshelf, on North Manchester FM. The last theatre review I published was – as you might imagine – back in February, and Hannah’s Bookshelf has been on an unfortunately prolonged hiatus since January.

So it gives me a lot of pleasure to be back reviewing performance pieces on here, and also to be able to say that a radio version of this review will be broadcast on Saturday, as Hannah’s Bookshelf is returning to the airwaves with a slightly different format (which you can read about here).

If you’ve read my reviews before, you’ll perhaps know that I often reviewed theatre and multi-media productions staged at HOME in Manchester. Sadly, like all theatres, HOME has had to close its doors during lockdown – though plans are afoot for its reopening in September, and you should check out their website for information about those plans. However, during lockdown, HOME have been putting out a programme of digitally-accessible content that can be enjoyed from the safety of your own home.

One part of this programme is the Homemakers series. The website describes this series as ‘new commissions inviting artists to create new works at home, for an audience who are also at home’. These funded projects invite artists to make creative use of COVID restrictions to produce art in different media, and that use different strategies to engage their audience. You can book tickets to view or take part in these creative experiences via the HOME website, and most are on a pay-what-you-can basis (though there is a recommended ticket price, which will help HOME to continue to survive and plan for the future).

I’m going to be taking a look at a number of the Homemakers commissions over the next few weeks, and reviewing them on here and on Hannah’s Bookshelf.

So, that’s by way of any introduction to the series, time for my first review in six months… A Small Gathering.

A Small Gathering is a trio of short films, created by Bristol-based theatre company Ad Infinitum, which deal with the fears, obsessions and compulsions of lockdown. I was drawn to this one by Ad Infinitum’s own description of the piece: they describe it as ‘a triptych of shorts served 2m apart’.

The first film of the three – or the first section of the triptych – is ‘Mr Pink’, created by Nir Paldi and George Mann. It’s a stylistic – almost garishly so – performance about the effects of isolation. As with the other two shorts, ‘Mr Pink’ has no dialogue, but makes use of sound effects and music to convey both emotion and context. (Sound design and composition for all three films is by Sam Halmarack.)

‘Mr Pink’ presents us with a man alone in lockdown (performed by Paldi). The film throws a spotlight (quite literally, at times) on the isolating effects of social distancing. The man’s escalating neurosis is performed physically, manifesting in theatrical movements, mime and exaggerated facial expressions, thrown into stark focus through Mann’s direction, and also through unsettling and jarring use of lighting and editing effects.

The man primps and preens himself as though preparing for a gaudy night out, but as he steps out of his front door, warning messages flash on screen and an alarm sounds. It is not safe to go out, and the man maniacally washes his hands as though trying to purge the mistake from his mind.

As Paldi’s man remains indoors, attempting to occupy himself with some sort of isolated entertainment, further fears manifest. The spectre of death is increasingly intrusive, and jittery neurosis dissolves into abject terror as the film progresses. The flashes of government warning messages evoke dystopia, but it’s through the use of lighting and camera angles that the dystopian atmosphere is truly created. The man is, we gather, in a house. But it feels so very small, dark and claustrophobic. There are no home comforts here, just a single featureless sofa and an anxiety-inducing bathroom sink.

‘Mr Pink’ is not a subtle film. Its messages – like the authoritarian slogans – are writ large on the screen. At times, it veers into being rather heavy-handed: a particular sequence involving soap and very suggestive facial expressions and sound effects, for instance, is rather blunt in its commentary on the fetishization of handwashing. Nevertheless, as a comment on the stifling effects of fear – particularly during the early days of the lockdown – it makes its point in a stylish and arresting way.

The second film, ‘Rewilding’, is also stylish and arresting, though in different ways. ‘Rewilding’ is directed and performed by Deb Pugh, and is also a dialogue-free performance that focuses on the manifestation of an individual’s lockdown fears.

In this piece – which, in my opinion, is the strongest of the three – a woman is alone on a houseboat, trying to work up the courage to go out and do some shopping. As in ‘Mr Pink’, there is something stopping her from going outside, but here it is much more clearly a psychological barrier. She checks her shopping list, checks her appearance, but then repetitively makes cups of tea and (of course) washes her hands. The camera offers us repeated close-ups of Pugh’s face, but the exaggerated neurotic expressions of ‘Mr Pink’ are replaced with a lingering and pervasive sense of worry and concern. This is intercut with – again, a little heavy-handed – glimpses of ‘outside’, where fears are manifested in something physical.

I think the reason why ‘Rewilding’ is the strongest of the three shorts is that it offers something a little different – unlike the other two pieces, we are reminded at the end of human connection. The final moments of the film, which I found surprisingly moving, offer a gentle reminder that, isolated as we might feel during lockdown, there are still very important reasons why we might have to do battle with our fears and go outside. Perhaps it’s reflective of my own experiences, but I found the ending ‘Rewilding’ to be something of an antidote to the intensely solipsistic experience of the other two films.

The third film, ‘Cynthia’s Party’, returns us, in some ways, to the concerns of ‘Mr Pink’. Directed and performed by Charlotte Dubery, ‘Cynthia’s Party’ presents us with a person alone in a house, attempting to entertain themselves in the absence of company – or, indeed, the outside world. Again, the psychological manifests as physical, though the focus here is on the dehumanizing effects of extended isolation, rather than the immediate fear of death and disease.

Of the three, ‘Cynthia’s Party’ is the least explicit about its COVID context. There’s no compulsive handwashing here, and no suggestion at all of the possibility of leaving the house. Instead, it’s a portrait of a fractured psyche that ends on a somewhat bleak and hopeless note. Like the other films, it’s both stylish and stylistic, hitting some standard horror notes, while also maintaining a disorienting sense of the surreal. Dubery’s performance jolts between maniacal and terrified, which, along with the unabashed trip to the Uncanny Valley, makes for uncomfortable but compelling viewing.

I referred to this piece as a ‘trio’ of films, but I think Ad Infinitum’s own word ‘triptych’ is a very apt description. Each of the three films is a complete piece in its own right, but they should be viewed as ‘hinged together’, not only by their shared context, but their shared themes and the stylistic devices and techniques they use to explore these.

Overall, A Small Gathering offers a creative and artistic response to the psychological effects of lockdown. Neuroses loom large, and the piece is occasionally heavy-handed in its approach, but as a stylistic and creative look at some of the (possibly national) obsessions and fears that have surfaced during lockdown, it works very well. Clever use of lighting, direction and sound design create a powerful atmosphere, but also serve to further ‘hinge’ the pieces together with repeated motifs and effects.

A Small Gathering is a short piece, but one that packs a lot into its running time. I’d recommend you check it out, along with the other Homemakers commissions, on the HOME website.

A Small Gathering is available to view via the HOME website until 31st December 2020. Please visit the HOME website for more information and to book tickets.

My Year in Books 2020: July

Continuing with my monthly round-up of the books I've read for pleasure, and I think I've definitely got out of the slump I've been in. I read more in July than I've been doing, and it's been a bit of a diverse mix as well.

In case you're curious, here are my reviews from the past few months: January, February, March, April, May, June

Dirty Little Secrets by Jo Spain (2019)

The last book I read in June was Jo Spain’s Six Wicked Reasons, and I decided just to go straight into another of her standalone novels. These posts make it look like there was a gap between me reading these two books, but actually I picked up Dirty Little Secrets immediately after finishing Six Wicked Reasons. The story takes place in a gated community – with the slightly unfortunate name of Withered Vale – where, as you can probably guess, affluent façades hide… well, dirty little secrets. Olive Collins, a middle-aged woman who lived in Withered Vale since before the other houses were even built, is dead. And, possibly worse, no one even noticed. Her body lay undisturbed in her cottage for months before she was found and a police investigation launched. Dirty Little Secrets is told from multiple perspectives, switching between the neighbours (who pretty much all have something to hide), the police officers investigating, and – somewhat unsettlingly – Olive herself, who offers a commentary on her neighbours from beyond the grave. I have to admit, I didn’t enjoy this one quite as much as Six Wicked Reasons, though the two books have much in common. I’m not sure the minor subplots involving the police officers really added anything either, and I found those chapters to be a bit of a distraction. I struggled to engage with the characters here, except Olive, and I did find it quite hard to believe that everyone in Withered Vale had a devastating secret to hide!

A Room with a View by E.M. Forster (1908)

I fell in love with A Room with a View when I studied it for A-Level. I adored everything about it – and even ended up going for a short holiday to Florence with my mum just after I finished my A-Levels, so that I could visit some of the places in Forster’s novel (with a Baedeker, I’m afraid). I haven’t reread the book for many years, but this month I had an afternoon with some friends where we watched the film adaptation, and afterwards I just had to reread the book. To say that A Room with a View is the story of a young, naïve Englishwoman who is transformed by a trip to Florence (and by an unconventional young man she meets there) is to do the novel a massive disservice. A Room with a View is a book about beauty and the ability to perceive it. One of the things I love is that – ultimately – not very much happens, and nothing very serious occurs, and yet every single incident, every object and place that’s described, feels imbued with an incredible significance and profundity. Buying a set of touristy postcards of famous artworks becomes a transcendent and liberating moment; unfurling a square of waterproof fabric speaks volumes about how we relate to place. Such shallow, mundane things hint at incredible depth and meaning. (I reread my A-Level copy, by the way, so also got to enjoy 16-year-old me’s pencilled notes and remember my first experience of reading Forster’s novel.)

Magpie by Sophie Draper (2019)

The next book I read this month was one I gave my mum for Christmas, and which she lent me after she’d finished it. I read Sophie Draper’s novel Cuckoo at Christmas in 2018 and loved it. Magpie is a slightly different type of story, though it has much in common with Draper’s debut novel. Magpie is the story of Duncan and Claire, an unhappily married couple who have a teenage son called Joe and a dog called Arthur. The story moves back and forth between Duncan and Claire’s perspectives, and also shifts in time, with some chapters marked ‘Before’ and some ‘After’. From the beginning, it seems clear what ‘Before’ and ‘After’ refer to – Duncan and Claire’s marriage is falling apart, and Claire is about to take action to end the relationship – but as the story develops, it seems there is more to it than that. I have to say, I didn’t enjoy this one as much as Cuckoo. The story’s set in Derbyshire, near a reservoir (that was created by flooding a village) and an abandoned hall and estate. I enjoyed the glimpses of the reservoir and the dilapidated hall, but there just wasn’t the same sense of pervasive atmosphere as in Draper’s first novel. My favourite part of the book was Joe, Duncan and Claire’s son, and the bizarre, understated menace of something he finds while metal-detecting. However, the main story of Duncan and Claire moved slowly, and I was a bit frustrated with it at times.

Phoenix in Obsidian by Michael Moorcock (1970)

And now… a little bit of a change… The next few books on my list are a bit of a mixed-bag – and deliberately so. In May, when I was struggling a bit to enjoy reading during the lockdown, I ordered a book bundle from Lyall’s Bookshop in Todmorden, who were offering to put together genre bundles or selections based on readers’ preferences. I decided I wanted something a bit different, though, so I simply asked them to ‘Surprise me’ – I wanted to pay my money and take my chance. And they did not disappoint! What arrived was a selection of eight wildly different titles (only one of which I’d read before), and I’ve finally had chance to jump in and get started. The first book in the bundle was Phoenix in Obsidian, one of the stories in Moorcock’s Eternal Champion series/cycle. I’ve read at least one Moorcock story before (when I was a teenager), but this is the first story I’ve read set in his ‘multiverse’ (and Moorcock was the first author to use that word, by the way). Phoenix in Obsidian is very much early-70s SFF, made all the more disorienting by the fact I’ve not read the preceding book. It’s kinda trippy futuristic stuff with some almost-Arthurian heroics in the mix. I won’t say that it's converted me to the genre, but it was a fun read (if weird) and definitely not the sort of thing I usually choose. All-in-all, a good start to my random reading selection.

Moll Cutpurse: Her True History by Ellen Galford (1984)

This month is obviously a month for rereading books I loved when I was a teenager. The second book from my Lyall’s Bookshop bundle was one that I’d read before, and unbeknownst to Lyall’s (unless they’re doing some black magic over there) was one that swept me up in a wave of nostalgia. Moll Cutpurse – real name Mary Frith – was a seventeenth-century ‘character’. She was undoubtedly a thief and a fence, probably a drunk, possibly a madam, and almost definitely not (no matter what the legend says) a highway robber. She was also a pipe-smoker who was known for dressing in men’s clothing. I had a bit of an obsession with Moll Cutpurse when I was a teenager, and spent a lot of time reading historical records and contemporaneous stories of Moll’s notoriety (she was mentioned by Shakespeare, and was the eponymous character of Middleton and Dekker’s The Roaring Girl). I was, admittedly, a weird teenager. And of course, I read Galford’s novel about Moll. The book is a romanticized imagining of Moll’s career through the eyes of her (fictional) love Bridget, the apothecary. Galford’s Moll rampages through Elizabethan – and then, later (and less joyously) early Stuart – England, meeting with travelling actors, criminals and Romanies, and exercising her own dubious (but rigid) moral judgement on witch-hunters, plague-profiteers and bad men. I loved this book – and I loved Galford’s version of Moll – when I was younger, and it was an absolute joy to revisit as an adult. I’ve missed Moll Cutpurse.

The Other Passenger by Louise Candlish (2020)

Slight pause on my Lyall’s bundle now. The next book I read this month was by Louise Candlish. I’ve been meaning to read one of her books for a while, and apparently my mum’s friend has also recommended them to her, so we’re accidentally in sync! I got the eBook edition of The Other Passenger, because the blurb looked intriguing. It’s the story of two London couples – Gen X Jamie and Clare, and Millennial Kit and Melia – who become friends when Melia gets a job at the high-end estate agent where Clare works. Really, though, this is Jamie’s story. He and Kit make their daily commute together on the Thames riverbus. One morning, just after Christmas 2019, Jamie is intercepted by the police as he leaves the boat. They want to talk to him about Kit, who’s been missing for several days. The interrogation makes Jamie reflect on his relationship with the younger man, and the story flashes back to the beginning of their friendship. And there are secrets that will unfold… obviously. Candlish has been credited with creating the sub-subgenre of ‘property noir’, and that’s certainly an apt descriptor of The Other Passenger. Property – and jealousy about property – looms large throughout, but the book is also heavy on the noir. For all its modern concerns about property prices, income and the rat race, there’s something quite old-school about Candlish’s tale. Yes, it’s a bit larger-than-life at times, but I guess the best noir always is. I enjoyed this one.

My Year in Books 2020: June

Fingers crossed, I think I might be out of my slump! Hooray! For the first time since the lockdown started, I feel like I've really been able to get back into reading for pleasure. I've read quite a few novels this month - way more than I've been doing - and I found myself getting lost in the stories much more than I've been doing. I'm very pleased about this, as I was starting to think I was never going to enjoy reading again.

As always, here are my reviews of the books I read earlier this year: January, February, March, April, May

And here are my reviews of the books I read in June:

Car Park Life: A Portrait of Britain's Last Urban Wilderness by Gareth E. Rees (2019)

Last month, I saw an intriguing retweet from a Twitter account called Unofficial Britain, which was about a visit to a car park. Linked to the tweet were details of Car Park Life, Gareth E. Rees’s ‘portrait of Britain’s unexplored urban wilderness’. Something about the tweet and the description of the book had me hooked, and I immediately ordered a copy from the publisher. I was not disappointed. Car Park Life is an exploration of a series of British car parks – retail and chain stores only, as outlined in Rees’s manifesto early in the book – that takes in strange decorative features, hints of criminal and sexual misbehaviour, odd reclamations and reimaginings of history (dinosaur footprints at Asda, a steel sculpture of a Bronze Age man at Holiday Inn), trolleys, litter and ashtrays. The book is a sort of psychogeography, but with a darker, more self-reflective tone in places. It reminded me of Jon Bounds and Danny Smith’s Pier Review (which I read last October and loved). Like Pier Review, Car Park Life transforms a rather mundane feature of the British landscape into a ‘heart of darkness’. The book is as much about the power the landscape exerts over the author as it is about the landscape itself. And, like Pier Review, the book imbues its subject with a profundity it can never fully explain. It’s a rare treat to read a book that not only doesn’t give you answers, but leaves you with questions you didn’t know you could have.

The Moth: 50 Extraordinary True Stories, edited by Catherine Burns (2014)

Back to my charity shop to-read pile for the next one… I picked this one up in Aberystwyth last year. I hadn’t heard of The Moth, a storytelling event series that began in NYC in the 90s. Participants are invited to tell ‘true’ stories of their own lives and experiences (though with a bit of direction and editorial advice). This book is a collection of fifty stories that have been told at Moth events, arranged thematically. As you might imagine, the stories are relatively short, making this a real pick-and-mix of a collection. There are stories about love (of all kinds) and relationships, life-changing experiences, grief and death. I have to admit it is a bit of a mixed bag. Some of the stories are a bit ‘literati’ for my tastes (bull-fighting with Ernest Hemingway was not one of my favourites). Others are quirky little slices of unusual lives (Mike Massimino’s story of fixing the Hubble telescope was pretty memorable). Of them all, it’s Darryl ‘DMC’ McDaniels’s story absolutely took the prize for me. Painful, moving, funny and ultimately life-affirming, it’s a story that’s going to stick with me for a long time. The beauty of a collection like this is that each reader will find something different to enjoy within the pages, and they’ll have differing appreciations of the various styles, tones and techniques that the storytellers use. I’ll admit it’s not quite as profound as I’d expected, but it’s an enjoyable selection of off-beat and (generally) well-told stories.

After the Accident by Kerry Wilkinson (2020)

As I’ve said a couple of times over the past few months, I’ve been really struggling with reading during the lockdown, and I’ve been struggling to get lost in stories. My mum’s been lending me books she’s enjoyed, and the pile keeps getting bigger. I decided just to jump straight in and read the one on the top. I didn’t read anything about After the Accident (even the blurb) – which makes it sounds like I put incredible trust in my mum’s recommendations! – because I thought it would be cool just to go in without any expectations. And I think I was right to do that, I think it added to my enjoyment. After the Accident is told in an unusual narrative style. It’s a series of snippets from interviews with a family group (and a couple of additional, periphery characters) conducted – surprisingly enough – after an accident. The McGinley family have gone to a Greek island for a holiday, but on the first night one member of the family is found unconscious after falling from a cliff. The style of the book is what really made it for me. It’s to Wilkinson’s credit that so many different voices, appearing in such short snippets without description or action, can come alive as an engaging and vivid cast of characters. As you may know, I’m a fan of unreliable narrators, ambiguous narration and uncertain endings, so I loved the fact that I couldn’t trust a single word any of the characters was saying!

Lies by T.M. Logan (2017)

I decided after I read After the Accident that I probably needed to just go for another thriller to help me get back into reading (and enjoying) novels. This was an impulse e-Book purchase with that specifically in mind. Again, I think this was the right choice. I actually read Lies in a single sitting – something I’ve not done for ages. It’s a well-crafted domestic thriller, with a few twists and turns (though I did see the ending, in part, coming). Joe Lynch is a happily married family man and schoolteacher. One day, after picking his little boy up for school, he spots his wife’s car and decides to say hello to her. That one insignificant decision leads to a discovery that makes Joe question everything he thinks he knows about his life. Or, at least, it makes him begin to question it. Actually, he still takes a few things for granted that perhaps he shouldn’t! I enjoyed this one; it was a fun ride, and Joe is an engaging (if slightly foolish) protagonist. I will admit there were times when I thought the machinations of his conniving nemesis were a little bit OTT – verging on ‘super-villain’ at one point – but the book stayed just on the right side of plausible. I also loved the way technology, specifically social media, was handled with a skilful blend of mundanity and menace. Overall, this was a well-written and fun read that kept me entertained. I think this one was a good choice.

The Other Wife by Claire McGowan (2019)

Next – and I’m not sure this is something I’m proud of – I just let Amazon make the decision for me. I picked the next two books I read this month from the suggestions that followed when I read Lies. That did mean I ended up with a couple of domestic noir thrillers, but that’s the way it goes. I read Claire McGowan’s What You Did a few months ago, and I enjoyed it, so I thought I’d give another of her books a go. I think I probably enjoyed The Other Wife even more than What You Did (probably), but I can’t quite put my finger on why. I think I just found one of the characters really engaging. The Other Wife is told from multiple perspectives (of course it is – no thriller worth its salt has just one narrator nowadays!). In the first part, we meet Nora, a widow in her forties who has been forced to sell the family home and move to a rented cottage after her husband’s death. The cottage is next-door to the one occupied by Suzi and her husband Nick. Suzi is pregnant, and feeling guilty about a bad thing she did. The third narrator is Elle, an insecure woman who worries that her husband might be cheating on her. These three stories come together in a not-altogether-surprising way at the end of the first part, but The Other Wife still has a couple of surprises in store – not least an unexpected character arc.

The Suspect by Fiona Barton (2019)

I read Fiona Barton’s The Child back when I started doing these monthly mini-review posts. I think it was one of the first books I reviewed, and I seem to remember enjoying it. The Suspect isn’t quite as intriguing as The Child, but it has its moments. It also has its problems. The story centres around two teenage girls, Alex and Rosie, who go missing in Thailand. Journalist Kate Waters (the protagonist of The Child and The Widow) decides to write something on the case, after being contacted by her old acquaintance D.I. Bob Sparkes. Sparkes thinks the case may be of interest to Waters, as her own son Jake is currently working in Thailand. (Jake’s departure, against his mother’s wishes, was a subplot in The Child). As you can probably imagine, Alex and Rosie’s disappearance turns out to be much more serious than just two teenagers forgetting to phone home – leading both Waters and Sparkes to travel to Thailand to investigate. While the plot does have its charms, it does rest on a rather easy to guess ‘twist’ and a bit of a massive coincidence (and it also contains a massive spoiler for The Widow, if you haven’t read that one). Worse, though, is the portrayal of every Thai character (all minor) as corrupt, lazy and (borderline) criminal and the clichéd depictions of the teen girls. Rosie, in particular, is a broad-brush portrait that really could’ve done with some depth or nuance. Overall, this one was a bit disappointing.

Six Wicked Reasons by Jo Spain (2020)

You might have picked up from previous posts that my mum and I are both big Jo Spain fans. I saw on Twitter that the next book in the Tom Reynolds series is out soon, and when I went to check the publication date, I spotted a standalone novel of hers I hadn’t read. Now, I’ll admit I didn’t enjoy The Confession as much as the Tom Reynolds books, so I was a little bit unsure about Six Wicked Reasons. Happy to say though, I really enjoyed this one. I found it utterly engrossing and got completely lost in the story – and I didn’t see the ending coming (though I loved it when it did). This is the story of the Lattimer family, a slightly snobby, kind of wealthy, very middle-class clan. Parents Frazer and Kathleen have six children – James, Ellen, Kate, Adam, Ryan and Clio – who each have their own demons to battle growing up. In 2008 (ten years earlier), Adam Lattimer walks out on his family and isn’t heard from for a decade. Six Wicked Reasons begins with Adam’s surprise return to the family home and a fatal accident that occurs at the reunion party. Spain then takes us back through the lives of the Lattimer children, and their relationships with their parents, as the truth of what happened when Adam unexpectedly returned is pieced together. Some stylish characterization, and a lot of cheekily unreliable narration, make for a compelling tale with just the right amount of melodrama.

My Year in Books 2020: May

It's another short post from me this month. I'm still really struggling to read for pleasure during the lockdown (and, as you'll have seen, I haven't been able to write any other blog posts either). I started three books in May that I haven't finished yet, but I did manage to read three novels in a single weekend in the middle of the month. This post is just about the novels I actually finished in May (the others will have to wait until another time.

As always, in case you're curious, here are my reviews for the rest of the year so far: January, February, March, April

The House of Lyall by Doris Davidson (2000)

I decided to have a weekend of reading books from my ‘random charity shop purchases’ pile. The House of Lyall was the first one I picked up off the pile. I knew nothing about it – and I’d never even heard of the author before – but I bought it at a charity book sale raising money for a local community group. Davidson’s book is a family saga (not normally a genre I read) set around Aberdeen, and it starts with the story of Marion Cheyne, a young girl who runs away from service and her family to begin a new life. Marion arrives in Aberdeen with nothing but the money she’s stolen from her former employer, but she soon falls on her feet and starts to build a new identity for herself. The story starts in 1894, but we follow her (and her family) through to 1955. As I say, this isn’t a genre I’m very familiar with, but I enjoyed the first part of the story. Young Marion isn’t a particularly likable character, but there’s something sympathetic and intriguing about her (and I don’t really need my heroines to be likable to enjoy their stories). As the story progressed, though, I became a bit frustrated with it. The pace was uneven, and it felt like we were rushed through far too much story in the second and third parts of the novel. Perhaps it should have been a trilogy? I struggled to follow/believe character motivations in the later chapters, unfortunately.

The Ambleside Alibi by Rebecca Tope (2013)

The next book on my charity pile was this one, which I bought at a booksale for a local care home. Again, I wasn’t familiar with the author, but I bought it simply because it’s set in Cumbria. What I didn’t know was that this is the second book in Tope’s Lake District crime series. However, that wasn’t too much of a problem, as there are only minor references to the first book in this one (and none of them are spoilers). As I haven’t read the first book, I had to ‘get to know’ the characters here, but that also wasn’t a problem. Weirdly, like The House of Lyall, this was another book that started really well, but disappointed me in the second half. I loved the introduction to what appeared to be an intriguing little mystery – florist Persimmon ‘Simmy’ Brown delivers a bunch of flowers to an elderly lady, which claim to be from a granddaughter she didn’t know existed. Shortly afterwards, another elderly lady is found murdered in her home. Are the two incidents connected? And how come Simmy has been dragged into both? I loved the sense of place that Tope evokes here, and the puzzle looked like it would be fascinating. Unfortunately, the book takes an odd turn part way through, and ultimately becomes rather far-fetched and – dare I say it? – silly. The real no-no for me is that no one really solves the mystery – the culprit just dramatically makes themselves known. A bit frustrating.

The Girl in the Painted Caravan: Memories of a Romany Childhood by Eva Petulengro (2011)

This was the last book I read during my charity shop weekend. And it’s the one I enjoyed the most (though not for the reasons I expected). I bought this one in a charity shop in Blackpool, as it seemed appropriate to buy a book by a Petulengro in Blackpool. Turns out Eva Petulengro made her name reading fortunes in Brighton, not Blackpool, but let’s not worry about that. Petulengro’s memoir is ostensibly a story of the lost Romany culture into which the author was born. And there are some charming (and deeply romanticized) details about vardos (caravans), horses and hawking pegs – all viewed through thoroughly rose-tinted glasses. But although that’s the aspect on which the book was marketed – and online reviews show it’s the aspect most people wanted to read about – there’s another story here that I found much more interesting. The book actually begins with a chapter set in 1964, where Eva reads the palms of (two of) The Beatles. It’s the story of how a young Romany girl, born in a traditional caravan to a travelling family, ended up as the clairvoyant darling of the Swinging Sixties. This story reveals much about Eva’s family’s showmanship, and along the way it encompasses Billy Butlin’s Skegness amusement park, some shrewd business decisions, and the constant evolution of working-class leisure activities. It’s not actually the story of the seaside resort of the fairground, but rather a glimpse into one part of the periphery. And what a delightful glimpse it is.