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I have a sinking feeling. Is summer slipping away? Last week there was heat in the air, now there’s a chill, and grey clouds scud across the white-flecked reservoir…..
Come on Jones, you’re in London!!! Be grateful for the warmth we’ve had – more this summer than in many another, and in any case Radio Four said yesterday that in a few years London’s climate will be comparable to Istanbul, so just be patient. Those Waterside apple and plum trees will give way to prickly pear and swaying date-palms, the marshes will become acres of scorching sand, camels will graze….
Meanwhile there’s been a Supermoon! 
On Sunday last for reasons optical and astronomical, the moon, as it climbed above the trees seemed HUGE. I’ve yet to replace the digital SLR camera nicked by the thieving swine who broke into my house last February, so I did the best I could with my little Fuji bridge camera, prowling the silvery marshlands between my house and the River Lea. It’s always a joy to give an outing to an under-used word, so all those affected by the wandering moon should note that on September 9th there is another perigee…
Any chill in the air was eased for me this week by a burst of Gallic passion over at the Park Theatre, where a talented and bold cast deliver Nona Shepphard’s intense, trim version of Zola’s Therese Raquin, with music by Craig Adams.
Vibrant performances from Radagrads Tara Hugo, Jeremy Legat and Gary Tushaw, with stirring work from Julie Atherton and Greg Barnett add up to an enlivening night of melody and lust, seconds away from Finsbury Park tube. Tickets are very reasonably priced, so hurry along you can’t go wrong – the run finishes on the 24th.
The perceived natural habitat for Gower St grads is the classical stage – but they can strut their musical stuff with the very best. For example both the 2006 and 2013 West End runs of Dirty Dancing respectively starred Georgina Rich and Jill Winternitz as “Baby” – both Radagrads – and indeed Jill is currently starring in “Once” at the Phoenix. Like Tara Hugo, Jill is one of those discerning American talents who chose to train with us – I take a quiet pride in having “discovered” Jill at an audition in New York.
Gary Tushaw (a former Marius in Les Miserables) moves next month from Finsbury Park up the Archway Rd to sing and act in an intriguing piece at the Jackson’s Lane Theatre, called The Liberation of Colette Simple, based on an early Tennessee Williams drama, due to open on September 16th.
And of course, as already mentioned in an earlier post Gemma Arterton shifts Sally Hawkins’s film role onto the stage in the musical version of Made in Dagenham at the Adelphi, opening on October 9th with Rupert Goold directing.
There’s lots of pre-publicity for this, so it’s clearly carrying quite a lot of cash investment. Gemma commented rather endearingly in an interview in the Independent that she didn’t see how the show could sell out as she’s “not that famous”. Well…when going public over a new boy-friend spawns a headline in the Daily Mail, when there’s an entire website (see below) devoted to gleaning every scrap of news remotely connected with you – and given that you’re bursting with talent – I suspect the punters investing in the Adelphi show could be seen as being onto a fairly safe bet.
I found myself musing about another, earlier show based on a real-life strike by women workers, its book written by Bill Owen before he found fame in The Last of the Summer Wine. Inspired by the 1888 strike at the Bryant and May match factory – which still exists, you pass it on the way south to the Blackwall Tunnel – the show was called The Match Girls.
Gerard Healy and Vivienne Martin
The Match Girls by Bill Owen and Tony Russell
I was on the stage crew for its West End run back in the 60s, which was directed by the amazing Gillian Lynne, and I have rich memories, not entirely unconnected with eventually marrying one of the cast. The Match Girls has a great story, some strong characters and good songs – you can hear some of the music on the link below.
And while we’re on the West End – regular readers will recall my recent rant at the Ambassador Theatre Group’s insatiable, despicable greed. Now the distinguished theatre producer David Johnson has given ATG a public roasting for having the nerve to request free tickets for his Fascinating Aida show in Edinburgh. Here’s an extract from his response to their request:
If I had my way you would be invoiced for just breathing Edinburgh air and wandering around this fabulous city and its astonishing festival. A festival that is the absolute antithesis of ATG’s current easyjet/ryanair mentality.
Quite so, sir. Good luck with Charm Offensive.
And before we close this week, a hint to all beer-lovers who live in, or who may stray to, north-east London. Christopher Lane, the TYA movement specialist, is also an innovative director who this week directed me to an exciting local enterprise, the Wild Card Brewery. It’s in a yard just minutes from the heart of picture-post-card-pretty Walthamstow Village, and opens its doors as a pub on Fridays Saturdays and Sundays. Click on the name for the link and directions.
Other links
The Park Theatre:
http://parktheatre.co.uk/whats-on/therese-raquin
Jacksons’s lane Theatre:
http://www.jacksonslane.org.uk/whats-on/event/2014/the-liberation-of-colette-simple/
Jill Winternitz:
http://www.officiallondontheatre.co.uk/news/backstage-pass/article/item227110/q-a-jill-winternitz/
Gemma Arterton:
http://www.gemma-arterton.net
Fascinating Aida’s Charm Offensive:
http://www.fascinatingaida.co.uk/files/charm-offensive-programme.pdf
The Match Girls:
http://www.allmusic.com/album/the-match-girls-original-cast-recording-mw0000231981
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