Book Review: Murder in the Afternoon by Frances Brody

Murder in the Afternoon is the third book in the Kate Shackleton series of mysteries that I've become rather addicted to (see reviews of Dying in the Wool, A Medal for Murder and A Woman Unknown). Set in Yorkshire in the 1920s, this novel blends the personal with the professional for amateur detective Kate. In the middle of the night she is visited by Mary Jane Armstrong who asserts that her two children found the body of their father at the quarry where he works. However, the body has since disappeared and the police aren't taking the matter seriously. Kate's discovery that Mary Jane is her sister leads not only to her taking the case but also visiting the mother who gave her up for adoption as a baby. Once again, Kate is determined to solve the mystery but this time there's more at stake.

Something I've enjoyed in previous books - the intimate descriptions of the Yorkshire locality - jumped to the fore in Murder in the Afternoon. A large proportion of it is set in and around Wakefield and I was thoroughly delighted to be following Kate through areas I know so well, allowing me to catalogue the differences a century can make. There's something about finding a book with locations you recognise that makes you feel closer to the text and it's definitely contributed to my overall love of the series.

As for the mystery itself, the familial tinge makes this novel different to the others. Kate's interactions with her hitherto unknown niece and nephew are particularly interesting, as is the contrast between the life she's had and the one she could've led. To offset this biological family there are more appearances than usual by Kate's adoptive parents in some amusing scenes involving their house being used as bait in a matrimonial trap. All this gives Murder in the Afternoon a distinctive flavour, while there's still a mystery at the heart of it.

Did I guess the killer this time? I suspected, but only because Brody wanted me to I think. I was nowhere near the 'why' and the unravelling at the end of the book was enjoyable in that respect. However, what I ultimate took from this book was a greater sense of Kate Shackleton the character - along with some brilliant depictions of 1920s Wakefield.

This Saturday: Jackanory at Mocca Moocho

You may be interested in an event which I'm appearing at this Saturday (25th April) in Wakefield.

Several writers will be reading their work at Mocca Moocho from 3:00pm to 5:00pm. My slot's expected to be about 3:40, but why not come for the whole thing? That cafe does some of the best hot chocolate I've ever tasted, even if it is almost summer now. Full details of the event can be found on Facebook here.

What I'm reading is still up for debate. I was hoping to read something new, but with my viva the day before I may be pushing my luck. Anyway, I'm looking forward to it and I hope to see some of you there on Saturday.

Available Online Now: Writing Westgate

Some of you may remember that I took part in an event at the Wakefield Lit Fest in September which was the result of several sessions with a group of local writers as we explored the new Wakefield Westgate station. My retrospective on the event can be found here.

Now the work has been published online and looks quite nifty, if I do say so myself. So, please, take a look at the pieces there by Steve, Nigel, Gregg, Daniel, Jimmy and Stefan and, if you're inclined, have a read of my pieces 'Ticket Machine' and 'Platform 1'. For a bonus, the picture of me that accompanies them is from when I still had long hair and has me almost smiling. Now that took some doing, as the photographer commented at the time. Seriously, though, they're all worth a read so consider taking a look.

Westgate Writers: Retrospective

For the last couple of months I've been working with the Westgate Writers, a group chaired by writer Steve Dearden. The brief was to explore the train station: people were recruited by an ad in the Metro but I bumped into the call-out online and accessed it that way. I jumped at the chance because the relocation of Wakefield Westgate station fascinated me as I passed the construction site last year each time I went into town. It became a habit with me to note how it was going (and, truthfully) criticise various aspects. Although I don't use the station daily, I travel to Sheffield a fair bit and the simple act of demolishing the old station buildings has thrown up a lot of thoughts and feelings. Coupled with the shininess of the new station, this little patch of land down the bottom of Wakefield centre proved to be fertile territory for fiction.

As with all these things, I didn't know what to expect from the group. But it turned out really well. There were six of us plus Steve, a nice size that worked well for the final performance slot. We had a little fun with writing activities involving prompt cards, song lyrics and idea dice but what really came out was the amount of work you could connect to the station, As a place where you're in transit, of course, many stories could be planted onto that location without growing organically. We did a little of that but, for the most part, our stories grew out of the station itself. At one point another member of the group said that I really didn't like the new station because I kept criticising the change. Well, I'm back and forth on it but I do miss the markers of the old decrepit buildings, the same way you miss anything that's been a part of your life for so many years.

Our work came together on Saturday. The first half of the event was Steve discussing his project 'Wake Lost Wake Found, details of which can be found here, which was fascinating. Then the Westgate Writers got up and presented our work in a manner that mimicked like the transience of the train station. I read out two little pieces which I was quite proud of and, I'm told, the event was a success.

Working with the Westgate Writers has been brilliant. Talking about writing and listening to work isn't something I've done much of since my MA and it's ridiculously beneficial to my writing process and confidence apparently. So thank you to Daniel, Gregg, Jim, Nigel and Stefan for being part of it and especially thanks to Steve Dearden for being such an excellent chair. It's been a pleasure to work with you all.

(My post-event drinks with a little green friend courtesy of a big not-green friend)

Westgate Writers Event - This Saturday

This Saturday (27th September), I'll be taking part in an event at the Wakefield Lit Fest. I'm part of a small group of writers who have been working with Steve Dearden to create pieces which, as the brochure says, 'explore the new Westgate railway station in words'.

That brief was delightfully vague and we've all come up with some rather diverse work, linking to the station as well as other things. Some of it's humorous, some of it's a bit dark and, as yet, we don't quite know which of our little pieces we'll be showcasing. Steve has been an excellent chair, giving us crazy tasks to stimulate our creative brains. The other aspect of the event is presenting Steve's commission piece from last year's festival - 'Wakelost Wakefound'. Described as 'part online novella, part photo essay', more information can be found here.

The event is being held at The Orangery on the 27th between 3pm and 4:30pm. It's free and everyone's welcome. Look forward to seeing you there!

News: A Wakefield View of Westminster - Available Now

(Cross-posted at One Yorkshire Voice, my political blog)

Dartside Press have just published a compilation of my political blog posts and articles, gathered from four years of observation and irritation. Spanning 2010-2014, the pieces in A Wakefield View of Westminster have been collected from various sites, edited and, where appropriate, commented on. It's rather fun looking at predictions from three years ago and seeing where we've actually ended up. Well, fun and depressing in some cases.

I'm fairly non-partisan, though I have to admit that Ed Miliband and Nick Clegg come in for quite a lot of criticism throughout the collection. On issues such as Europe, HS2, the bungling of welfare reform, democracy and party politics, I'm very vocal - and unapologetically so. These are just my opinions, of course, but I hope they're an entertaining read.

The book can be bought from Amazon here.

Taking My Characters For Walks

A couple of months ago I blogged about how I was writing longhand again, indulging in short story writing to satisfy my craving to write without being submerged into a novel draft. Well, I'm still enjoying it. I've got several written and typed up, they're now waiting for some conscientious editing which may have to wait until I've fulfilled my quota of conscientious thesis editing and have seen how much conscientiousness is left over. But it occurred to me the other week that I was being a little peculiar - again.

I had wandered into town to have a coffee and do some writing but I hit a stumbling block. I'd envisioned a character as a bit of a harridan and my plan was for her to be humiliated (yes, I know, mean) but I couldn't get from A to B. So, instead of going home after my coffee, I told myself I wouldn't head in that direction until I'd figured it out. Unfortunately, Wakefield isn't exactly big enough to make that sort of dream a reality. So after walking the character around a shopping centre and a few streets, I turned my feet towards the retail park. Then it started to rain. The things we do for our stories.

Eventually, I realised that, yes, I was looking at it wrong. This character had more to her, the reason she was being a cow was intrinsically linked to the main thrust of my story and I hadn't noticed. Would I have reached that conclusion without taking her for a walk? Well, probably. But it wouldn't have happened so rapidly. And I wouldn't have got so soggy.

Book Review: Yorkshire Villans: Rogues, Rascals and Reprobates by Margaret Drinkall

This slim volume (141 pages) discusses crimes of various natures committed within the three 'Riding' areas that made up Yorkshire in the nineteenth century. As a consequence, you occasionally get references to places, like Middlesbrough, which were considered part of Yorkshire then but are no longer. The book is split into thirteen crime sections: Highway Robbery, Riots and Treason, Forgery and Counterfeiting, Stealing, Arson and Explosions, Child Murder, Manslaughter, Poaching, Burglary, Breach of Promise, Bigamy, Poisoning and Murder. Of course, there are crossovers between chapters but, on the whole, this categorisation works.

Drinkall covers dozens of crimes, from the routine to the odd and suspicious. Naturally, it's the latter that kept my interest, especially the stupidity of some people sticking close to the area of their crime or even, in the case of one poisoner, seemingly striking again. The wealth of little human stories in these pages obviously only give the information that can be found in official records. It makes for a tantalising read.

Some of my 'favourite' cases, if you can call them that, are: the explosion of a package thrown through the window of a house in Sheffield in 1861, the death of a Jane Gowland's illegitimate baby near York in 1839 and its subsequent discovery and the bizarre dismissal of charges against a servant accused of murdering her elderly Wakefield employer in 1860 in a case involving forged wills and exhumation. I think the saddest case in these pages, though, is to be found in the case of a mouse that finally roared. Joseph Dobson had endured years of hardship thanks to his father, still handing over money from his wages after he was married. In 1843 his father threatened to kill his wife for complaining about this deduction and Dobson took it a serious threat - shooting his father and going to the gallows for it. Of all the cases found within these pages, that may be the one that lingers with me.

Overall, this is a very interesting book for anyone interested in Yorkshire crime of the nineteenth century and the little eccentricities of the law which occasionally occurred. There is much in these pages to dispel the idea that sensation fiction was not, at least sometimes, drawn from life. For reference, see the chapters on bigamy and murder!

Upcoming Event: Battle of the Books at Wakefield Literature Festival

I'm very excited to announce that I'll be organising and hosting the 'Battle of the Books' event on Sunday 29th September, 1-3 pm, at The Orangery. Thanks to a successful funding application (see below), I'm putting together what I hope will be an enjoyable afternoon.

Here's the premise.

Every participant will have five minutes to 'sell' their favourite book. Now, this can be a novel, work of non-fiction, poetry collection, play, graphic novel - whatever you want. All you have to do is make it sound good. That's easy, right? It's up to you what you decide to focus on. You could go with plot, character, design, wider meaning or anything that you find particularly endearing about your choice. The only rules are that you have to use your vocal powers of persuasion alone and you only have five minutes.

Aside from the glory (which is, of course, abundant), there will be prizes on the day following a secret vote to see who 'sold' their book best. Prizes will be drawn from local retailers making this a truly Yorkshire event.

And, just to sweeten the pot a little more, there will be refreshments and treats available during the event - in case the pressure gets too much for you.

So, does it sound like your kind of afternoon? Tickets are £2 and places are limited to 15 to allow everyone their five minutes of persuasion. Visit the page linked to below if you want to book and feel free to ask me any questions!

http://www.wakefieldlitfest.org.uk/events/5-battle-of-the-books

http://www.wakefieldlitfest.org.uk/

New for 2013 Wakefield Lit Fest, ‘Seed Funded’ events are a series of curated events organised independently by local groups and individuals with a passion for literature. An open call for ideas for festival events was made in July, with successful events being given financial support from the Lit Fest through Arts Council England Grants for the Arts funding.

Book Review: A Woman Unknown by Frances Brody

This is another book I was drawn to because of the cover. I bought it not knowing it was the fourth in a series or that it was set in Yorkshire. I therefore got a very pleasant surprise when I opened the front cover. Finding good period mysteries set outside the capital is rather difficult but A Woman Unknown introduced me to a new series that specialises in it. I have to admit to getting very excited when the heroine hopped on a train to Wakefield Opera House and wandered a little around my home town in 1923.

So - the story! Kate Shackleton is a private investigator who is approached by Cyril Fitzpatrick because his wife, Deirdre, is acting strangely. He's chosen Kate because her partner, Sykes, caught Deirdre shoplifting previously and let her off. But Deirdre's 'secret' is that she is spending (non-sexual) nights in hotels with married men who are providing their wives with grounds for divorce. Unfortunately, on one occasion Deirdre wakes up next to a dead man and flees.

Everett Runcie isn't short of enemies. His wife, Philippa, is divorcing him and moving back to America; his long-term mistress, Caroline, may be put out when she doesn't feature in his plans and he's not proving the best asset to the family firm either. But who killed him? From investigating a person acting strangely, Kate suddenly finds herself searching for a missing woman while skirting around the edges of a murder investigation chaired by her ex-boyfriend.

With some mysteries I like to guess ahead but with this one I just allowed the tale to take me. The fluid, readable style of Brody made for an enjoyable ride. And I was relieved to discover that, although there are references to previous books, it's not necessary to have read them in order to understand and enjoy this one.  Of course, I did have a few criticisms, primarily that the narrator switches at different chapters with no discernible pattern. It can be a little disorientating at times but, really, that's a gripe. The book was very enjoyable and I will certainly be going back to learn about Kate Shackleton from the very beginning.

Wakefield Drama Festival 2013

This was my third consecutive festival, having attended and reviewed all seven shows in 2011 and 2012. Last year was dominated by a couple of grim and heavy plays while this year was much more about the comedy. It worked on one level but the scheduling was hampered by companies dropping out. I think this impacted the shape of the week, though there were a few excellent productions contained within it.

Sunday - Behind Closed Doors

This play, set in the 1980s, tells the story of Sandra (Emma Legg) and Tarquin (Jonathan Cook) who meet at university and come from very different families. Both of their mothers, though, are victims of domestic violence. The play is therefore a fairly dark one but there are some humorous moments throughout which lighten the mood. Pearl (Jane Walker) and Eddie Heptinstall (Alan Galway) are the more obvious couple of the piece - he's a binman who is handy with his fists when things aren't going his way. Meanwhile, Vernon Pollock (Lester Cooke) is a successful businessman who has exacting standards of perfection which his wife, Harriet (Leisa Cooke), could never live up to. Pearl invents a fantasy man, Thomas (Seb Goss), to cope while Harriet drinks but matters come to a head when the families meet.

The contrasting representations of domestic violence worked well and Alan Galway provided some much-needed light-relief as Eddie, a character we can understand even while he does horrible things. Lester Cooke had a more difficult job with Vernon and I think it showed. On the female side, Jane Walker's accent wasn't quite there but I have nothing but admiration for Leisa Cooke, an understated performance when it needed to be. I'd say that some of the cast were definitely stronger than others. There were some lighting decisions which I didn't agree with and the bottle of 'vodka' that was spilled at the end detracted my attention from the action as I watched it float down the stage. However, overall, this was a compelling piece of theatre, a little heavy to start the week on, perhaps, but well acted and reasonably well put together.

Monday - Playhouse Creatures

Kismet Theatre Company jumped in at very short notice to perform this play that they've done before but in a very different theatre. The transition caused some problems but, considering they'd only had a week to prepare it was an extremely good production. Set during the Restoration, Playhouse Creatures shows a group of actresses through their highs and lows, including the notorious Nell Gwynn (Emma French). There are two other young actresses, Mrs Farley (Dawn Cowan) and Mrs Marshall (Kerry Greenwood), and one stately actress, Mrs Betterton (Jeanne Bain), who has been in the theatre for far longer. Rounding out the cast is Doll Common (Paddy Johnson), stage hand and general cynic.

I think the play suffers from being a little episodic but, that said, there are some wonderful little moments within it. The concept allows the actresses to transform themselves into various stage roles and the Cleopatra is particularly entertaining. It's an excellent period piece, accessible to modern audiences but still with the taint of Restoration London on the dialogue. There were excellent costumes in this and, though I was initially disappointed with the limited set, the three boards they used to distinguish the bits of stage action worked well.

There are a couple of things I particularly enjoyed about this production. Firstly, Emma French was an excellent Nell and she and Paddy Johnson carried the piece. Jeanne Bain's Mrs Betterton had some wonderful scenes, especially her final ones and she was the character I felt for most. However, she also provided the 'clock' method of acting that had people in stitches. Despite Nell Gwynn and Doll Common (and a rather horrible abortion scene), that 'clock' is the thing I'll remember most vividly.

Tuesday - Hobson's Choice

Henry Horatio Hobson (Keith Lowe) owns a boot-shop which is run primarily by his three daughters, the bulk of the shop work being taken on by his eldest, most capable daughter, Maggie (Liz Brooks). When he tells her she's past marrying age she retaliates by taking up with her father's best cobbler, William (John de Tute), taking trade from him and arranging things for her sisters while she's at it. Unfortunately, this leaves Henry isolated but will he back down or remain obstinate?

This was excellent, utterly hilarious with some fantastic performances thrown in. Liz Brooks's deadpan delivery made her a favourite with the audience and the first time we see her - when she's manipulating one of her sisters' suitors into buying a pair of boots when, really, he just came in to see her sister - sets up the rest of the play. Equally, John de Tute's hunched portrayal of the cowardly William is beautiful, enhanced by his transformation at the end of the play. The other actors were very good, yes, but these two stole the show for me. (They took home the 'Best Actress' and 'Best Actor' awards at the end of the week, rather proving my point.)

The set was carefully planned and wonderfully executed, very detailed and appropriate. Overall, this was a beautiful production, appreciated by the audience and obviously enjoyed by the actors themselves.

Wednesday - Side Effects

I had high hopes for this one. Set in a convalescent home, it tells the story of the cantankerous Frank (Ray Taylor), booked in for respite, alongside the Reverend Paul Latimer (Peter Horner). The vicar has been given a new heart and is acting very strangely, particularly around the mysterious Tracey (Esther Dyson). Paul's wife, Sarah (Karen Slater), is alarmed by her husband's behaviour while Frank's wife, June (Sally Davies), is irritated by her husband's enjoyment of the situation.

However, this production didn't do the script justice. Written by the man behind Rising Damp you could almost imagine it needed an overblown central character with more presence than this production offered. I think he needed to be far more despicable, creating more of a surface for other characters to bounce off. This worked to an excellent with June, his wife, who had some of the best lines of the night and delivered them well. However, the laughs were thin on the ground because, for some reason, the piece seemed to lack conflict and pace. It seemed too leisurely when there was far more anger in the writing than was displayed on the stage.

Thursday - Without Fear or Favour

Set in a Yorkshire police station in the 70s, this tells the story of a group of officers and support staff in the run-up to Christmas and the closure of their station. Very much an ensemble piece, this has a large cast which occasionally makes it difficult to keep track of who's who. This became less of a problem and there are some very memorable characters within the piece and some fantastic moments.

It's difficult to summarise the plot of this one so I'll just have to say it's hilariously funny with some poignant moments in it and the twist just after the interval definitely surprised me. Every one of the actors brought something individual to their roles but my favourites were Hayley Harris as WPC Margaret Ward, who managed to keep my attention in scenes that weren't about her due to subtleties of movement, Rob Atkinson as DC Malcolm Skidmore, a thoroughly believable performance, and Gail Rogers in her brief role as dementia sufferer Agnes Parrish.

The detail in the set and the script were excellent and I was glad to be part of an audience that appreciated every line of dialogue and every little look. Definitely one of the highlights of the week.

Friday - The Grocer's Daughter

This one-woman play stars Mary Creasey as Connie, a shopkeeper reminiscing as she packs up her things to leave. I went into this with a few distinct advantages to most people my age - I grew up watching and enjoying repeats of Coronation Street from the 70s on Granada Plus, I've had an obsession with Victoria Wood-type Northern humour since my mid-teens and I've watched a fair amount of old films so I understood more of the references than I might have otherwise. I can imagine without these advantages I would've found the piece a bit incomprehensible.

As it was, I enjoyed it for the most part. Most of the characters Creasey transforms herself into are amusing, though they are difficult to recall individually afterwards. I wasn't really keen on the songs she threw in but they did alter the pace somewhat. One decision I was uncertain about was the melancholy end to the first act - while that particularly story is one that resonated with me, it was an odd way to leave the audience for the interval. All in all, this was a good play; better, I suspect, if you're over a certain age. Full credit to Mary Creasey for what must have been an exhausting show.

Saturday - Death and the Maiden

This is a heavy play and, as such, I'm not sure it was the best work to conclude the week, especially after a schedule packed with comedy. It tells the story of Paulina Salas (Julie Johnston), a woman who was captured and tortured years ago. She now lives, still troubled by her experiences, with her husband Gerardo (Andy Rea). One night a man arrives on their doorstep who she becomes convinced was one of her captors. But is Roberto (Mike Bellenie) innocent or guilty and does it matter?

I struggled with this one. Although I initially liked the set - furniture covered with sheets, high windows at the back and a little veranda area - it became a little cumbersome as time went on and characters were travelling between the living room and the veranda. In addition, the piece felt overblown sometimes and too underplayed at others - I'm not sure they got the balance right. It's a difficult play to convey and I don't think the ambition of the company paid off this time. While there were a few stand-out moments, overall, I found this one difficult to warm to which, in all fairness, may have been a result of the dark subject matter.

Conclusion

I think this year was marked by two phenomenal local productions - Hobson's Choice and Without Fear or Favour - which, between them, took home 11 out of the 12 awards (the only one they missed was the one they couldn't possibly win - third place!). I came out of Hobson's Choice convinced it was the play of the week and, though Without Fear or Favour briefly shook my resolve, I couldn't help but cast my vote for it in the 'Audience Award'. I hope other companies don't think this was a Wakefield whitewash - it just so happened that this year the local companies excelled themselves.

All I can say is that St. Austin's Players and Wakefield Little Theatre thoroughly deserved their accolades this year. In addition, I enjoyed Playhouse Creatures and it was a worthy recipient of the award for third place. It was certainly a year of diverse plays - some worked, some didn't. Everyone involved should feel proud and congratulations to the winners.

Preview: Wakefield Drama Festival 2013

In under two weeks I'll be attending the Wakefield Drama Festival for the third time. I reviewed my experiences in 2011 and 2012 but this year I thought it would be interesting to look ahead and see what I've got to look forward to. Seven different plays over seven nights (26th May - 1st June) always brings out an eclectic bunch of plays and this year is no different.

On Sunday 26th May Bonkers Theatrical, Kettering perform Behind Closed Doors by Janet Shaw, which explores the engagement of two university students and the domestic violence which permeates both of their families despite their differences. It apparently has 'comedy and tragedy in equal measure'.

On Monday 27th May Gainsborough Theatre Company perform Shakers by John Godber and Jane Thornton. It explores the lives of four waitresses in a cocktail bar which 'is worse than hell'.

On Tuesday 28th May St Austin's Players perform Hobson's Choice by Harold Brighouse. A comedy set in 1915, it tells the story of a widower struggling to control his daughters who work in his shoe shop, a problem that becomes more acute when one of them marries his best cobbler and decide to set up a rival business.

On Wednesday 29th May Trinity Players, Barnsley perform Side Effects by Eric Chappell. This is a comedy with such a description that it's best to just quote it: 'Frank Cook has been booked into a private nursing home, by his wife June, for a week's respite. Whilst there, he encounters the Reverend Paul Latimer who is recovering from a heart transplant and whose odd behaviour is beginning to alarm his wife, Sarah. The young, attractive Tracey might provide the answer. She is convinced that the vicar's new heart belonged to her recently deceased lover Melvin - a fairground 'wall of death' rider!'

On Thursday 30th May Wakefield Little Theatre perform Without Fear or Favour by Reece Andrews. Written by a retired police officer, this play looks at the reality of policing in suburban West Yorkshire in the 1970s.

On Friday 31st May The Yorkshireman Company perform The Grocer's Daughter by Mary Creasey and Jack Land Noble. A 'one woman comedy' set in Grimethorpe, it deals with Connie as she packs away her life before closing the shop for good. 

Finally, on Saturday 1st June Halifax Thespians perform Death and the Maiden by Ariel Dorfman. Containing strong language and adult themes, this is another one where I'll just quote the description: 'A riveting psychological thriller set in a country whose people have just wrestled power from a punishing regime of dictatorship in order to establish a democracy. But, what makes a decent society and who, if anyone, should be held to account for past failures?'

So there you go, that's the week in full. From the descriptions, I'm looking forward to The Grocer's Daughter and Death and the Maiden most but I expect the entire week to be enjoyable as it has been for the last two years.

Tickets for the individual shows are £12. A three night pass costs £30 and a seven night pass costs only £49 which works out at £7 a show. I should say thank you to the theatre for not raising this price, keeping the theatre affordable. I think the festival is a wonderful opportunity for people to see the different types of play that the Theatre Royal Wakefield offers and I wouldn't be going back for the third year in a row if it wasn't both great fun and value for money. Watch for my review at the end of the week!

For more information and to book tickets please visit their website. 

Theatre Review: A Kind of Loving

A Kind of Loving, based on the 1960 novel by Stan Barstow and adapted here by John Godber, tells the story of Vic Brown (Byron Owen) and his troubled relationship with Ingrid Rothwell (Vicky Binns). At first he is infatuated with her but quickly loses interest until Ingrid drops the bombshell that she's pregnant. Vic reluctantly marries her and moves in at her mother's but tragedy soon strikes.

Probably the most vital component of this play is Byron Owen's rapport with the audience. Although the character is downright despicable at times, his direct conversations with the audience keep them almost on his side. A side-effect of Vic's charisma, though, is that the character of Ingrid fades into the background a little. Despite the fact that she is (mostly) in the right, the story is Vic's and the audience certainly identifies with him more. Ingrid comes and goes whilst Vic is onstage much of the time. In addition, the other four members of the cast take on multiple (and sometimes hilarious) roles. When I think of the most memorable scenes it's unfortunate that they include Vic alongside someone else and not Ingrid.

The staging of this works extremely well. The doors around the stage have a dual function: they allow characters to come and go quickly and the plot to jump ahead but they also impose a sense of community on the story. Frequently, there is the sense that Vic's being watched and judged as heads pop out of the doors, portraying with simplicity the tight-knit relationships in a working-class northern town in the late 1950s/1960s. Once in a while there is a dip too far in the lighting (in fairness, that could have just been where I was sitting) but it doesn't hinder the production. In fact, the lighting works very well throughout, a standout moment being the end of the first act where the back of the stage practically glows. The music utilised often certainly compliments the story and helps set the scene - any play that begins with Doris Day singing is definitely for me! Also of note are the brief set changes, comprising of bringing stools, chairs and a sofa on to the stage: these get gradually more amusing as the play goes on with Dicken Ashworth and Christine Cox as Mr and Mrs Brown particularly hilarious offenders.

As I mentioned, four versatile cast members take on thirteen roles between them. A couple of them stand out: Dicken Ashworth as music shop owner Mr Van Huyten has a thick accent but a very distinctive personality that comes across in his lines. His appearances were welcome, although at one point his line was drowned out by the music playing at the time and I was a little disappointed. Also amusing to watch were Jacky Naylor in her brief stint as Ingrid's friend, Dorothy, and Robert Hudson as Percy Walshaw.

There are three scenes which make this play worth seeing on their own and all of them are in the second act. Vic's drunken scene with Percy is nothing short of hilarious and the audience was in stitches as it progressed. Immediately following this was Vic's confrontation with his mother-in-law (Jacky Naylor) then, finally, there was Vic's discussion with his sister (also Jacky Naylor), a poignant conversation which consolidates the themes of the play.

Overall, this was a thoroughly enjoyable night out. Although the decade has changed, the themes of love, ambition and responsibility are still as important as they ever were.

A Kind of Loving runs at Theatre Royal Wakefield until Saturday 23rd March.

Wakefield Drama Festival 2012

I should note that while this year was billed as the 'Jubilee Drama Festival' it's pretty much by chance the two coincided. Aside from standing at the national anthem, there was no Jubilee-related activity. That's why I've billed this as the 'Wakefield Drama Festival 2012'. This is the second year I've attended, thoroughly enjoying 2011 after a shaky start. I think this year felt a little more gruelling than last year but it did have some heavier productions on, adding to the overall atmosphere. I do know that attendance dropped this year - that may have been a consequence of people not wanting to buy seven night passes that interfered with the Jubilee celebrations or they might have been put off by this delightful rain we've been experiencing but, nevertheless, I'd urge people to attend next year if they can. The standard of some productions this year was phenomenal.

Sunday - Terra Nova
This felt like a grim one to start the week on - a dramatisation of the final days of Captain Scott's expedition to the South Pole. Heavy subject matter indeed but relieved slightly by occasional touches of humour and some manipulation of reality. Throughout the play, we follow Scott's wandering mind as he recalls his wife and engages in fantastical conversations with his South Pole adversary, Roald Amundsen, as he tries to keep his team alive. It was at times difficult to watch a story that we know the tragic ending of but Simon J. Vardakis as Captain Scott put in a wonderfully believable performance of a man struggling with his responsibilities and making errors of judgement along the way. The rest of the cast were equally as believable, coping with the time and reality shifts with remarkable dexterity.

Technically, the stage was well-assembled and it won 'Best Stage Presentation' at the end of the week. It even looked cold, covered in white sheeting with two raised sections which allowed Scott's conversations with his wife and Amundsen to be separated from the action. I couldn't fault the script nor, really, anything. The final scenes were so harrowing that I was close to tears, something that's never happened to me in a theatre before. All in all, this was another exceptional production from the company that provided the overall winner last year.

Monday - The 39 Steps
An adaptation of the Hitchcock film with only four actors played to the ultimate comedic effect - what could be finer? Well, not much. The key to this play is for the actors to connect with the audience and they managed it beautifully, particularly the two 'clowns' who had to play dozens of roles between them and jointly took home the 'Best Actor' prize at the end of the week.

There were some ingenious uses of staging to get laughs, including an iconic door that was pushed repeatedly around the stage to hilarious effect. In addition, a wonderful screen at the back of the stage depicted scenes too difficult to construct on stage - a plane crash, the escape across a loch (Nessie made an appearance at this point). Occasionally, however, the tension slipped a bit and a few sections became repetitive and slow. There are only so many times you can laugh at the same thing. There were, though, some fantastic character-switches for the clowns which the audience certainly appreciated. I think the finale set in the London Palladium was well-orchestrated, although the last scene of the piece felt as though it overstayed its welcome. Nevertheless, this was an enjoyable evening with some good performances.

Tuesday - Outside Edge
I think the first thing to say about this production is that there seemed to be a catastrophe pre-curtain. An ambulance at the rear entrance twenty minutes before the performance is never a good thing and I think it may have been the director who was taken off. That probably explains some of the issues I had with the play.

There was a fair bit of line-fluffing, including one incidence of the prompter having to dive in. That threw me off a bit but, to give credit to the cast, they recovered well every time there was an issue. Some of the characters were over-played but I suspect they were written that way. The play itself (written in 1979) felt a little dated from time to time but the interplay of the characters and the fundamental natures of the people involved shone through. My favourite performance came from Debby Pickering as Miriam, the long-suffering wife of cricketing captain Roger. She played the nattering, obedient wife to perfection in the first act then, as things began to fall apart as she realised her husband's lies, she morphs into a brittle, sarcastic woman struggling to hold it all in. The action takes place at a cricket club as the players compete against another team amidst failing relationships and injury. Another few honourable mention for acting must go to Helen Binns as Maggie and Chris Harrison as Kevin, both of whom were endearing and funny. A few actors seemed to struggle with the horrible natures of their characters - Ginny and Dennis being two examples - and the play could've done with the nudge from more tension in this respect. However, I liked the building up of Miriam's suspicions throughout. This play is running for a few days at the end of June and it's certainly worth a chance, especially if the cast have taken on board some of the adjudicator's opinions.

Wednesday - Someone Who'll Watch Over Me
This play is based on the real-life experiences of a hostage in the Lebanon. In all honesty, I wasn't expecting this to be one of the highlights of the week: a static set, three characters imprisoned, pain and suffering didn't assist in making me look forward to it. How wrong I was.

I can only remember once being so torn apart by a play and that was when I ventured to London to see Tracie Bennett in End of the Rainbow. Someone Who'll Watch Over Me was claustrophobic, heart-breaking yet the tension was broken by moments of light-relief as the three prisoners tried to forget the horrific situation they were in. The 'tennis match' between Michael (Derek Smith) and Edward (Simon Reece) was hilarious and the actors should be commended for their ability to switch from despair to humour in the blink of an eye. All in all, I'd imagine the actors were thoroughly exhausted at the end of it but they performed remarkably throughout - there wasn't a slip that I could discern. Something the adjudicator remarked on at the end of the play was that the audience didn't feel as though they were watching a play and that was certainly true - there was no artificiality at all and the actors really became the characters. There was a good use of music throughout, starting with 'Someone To Watch Over Me' (of course) sung by Ella Fitzgerald. However, the most heartbreaking incidence of music came from Alistair Cheetham as Adam, singing 'Amazing Grace' and bringing the curtain down on act one. There are no words to describe the effect that had on the audience. When the lights came back on no one wanted to move. As you can probably tell, I don't have a bad word to say about this production.

Thursday - Charley's Aunt
For me, there's a distinct difference between playing a production written in the Victorian era where the Victorians take the mickey out of themselves and playing it as a contemporary company taking the mickey out of the Victorian era. I realise I have a rather deep interest in this as a student of Victorian literature and it well may be that the flaws that presented themselves to me in this production were invisible to everyone else. Nonetheless, I was disappointed by something I hoped to enjoy.

The play tells the farcical tale of Jack and Charley, two young men hoping to propose to Kitty and Amy respectively before the girls leave for Scotland. Charley's aunt, whom he's never met, is supposed to be coming for lunch and that strikes the boys as the perfect opportunity to speak to the girls. At the last minute the aunt writes that she won't be attending, leaving poor Fancourt Banbury in a predicament as his friends force him to dress up and pretend to be Charley's aunt. Unfortunately, the 'aunt' soon finds herself with two suitors and things take another turn for the worse when the real aunt arrives. I suppose another one of my problems with this one was the over-acting present, especially in act one. Yes, it's a farce but the best farces stem from the dialogue and characterisation and, while the script was good enough, the actors seemed compelled to over-play it instead of letting the script speak for itself. I think the younger actors were guiltier of this than the older ones. There was an over-reliance on exaggerated facial expressions which didn't fit with the moment and, while it picked up a little towards the end, the first half dragged immeasurably. One other thing that irritated me - there was a second interval to allow a set change. Given the sparsity of the set, I rather think that could've been accomplished in a black-out with some music playing.

There were some good performances though, particularly J.E. de Tute as Banbury and K.T. Lowe as the butler, Brassett. They at least seemed to embrace their parts without mocking them from a contemporary standpoint and I was delighted when Lowe took home the 'Best Supporting Actor' award at the end of the week. However, I expected to enjoy this one much more than I did, I'm afraid.

Friday - The Glass Menagerie 
At around two and a half hours long (plus interval) this one was the lengthiest play of the week and, while I understand why it was put on Friday night, by this stage I think the audience was perhaps too tired for such an intellectual offering. That said, it gripped me throughout, though I do have criticisms of my own.

The staging seemed to be tricky if you were anywhere apart from dead centre stalls. There was a curtain across which revealed a table but, thanks to some props to the left, it impaired the view for some of the audience. I spent scenes watching two people with a third frustratingly out of sight. Nonetheless, the set felt authentic and uncluttered at the front. The production's use of music was excellent, but voices didn't always carry far enough - something which one man loudly commented on during the best scene, only to be shushed by everyone around him. Negatives aside, the actors were fantastic. Clare Foster as Laura Wingfield was remarkable, especially in the romance scene opposite Jack Cotton as Jim. I was enthralled during that scene, literally leaning forward in my seat as the tension between the pair rose and fell. One thing this production did exceptionally well was build an atmosphere. The adjudicator remarked that the atmosphere was too level and gloomy and that Amanda's (Margaret Leigh) moments of hysteria could've been used to alter the pace and, although he did have a point, I don't think it caused too much of a problem for me personally. The four members of the cast worked brilliantly together and I came out of this one touched by the performances. Clare Foster took home the 'Best Actress' award for her efforts, something very much deserved.

Saturday - One Big Blow
This isn't the play to go to if you're looking for realism! Six actors playing lots of different roles between them, it's ostensibly the story of a brass band preparing for a competition but, really, the competition isn't the thing that grabs the audience. The a cappella singing in lieu of an actual band seemed like a bad idea in concept but worked exceptionally well in practice. The additional songs the cast sang were both funny and fitting and the physical performances put in by the cast felt exhausting to the audience. It was a difficult one to keep up with at times, with all the character-switching, but it really didn't matter in the end. This one was an hilarious romp with some ingenious uses of bodies instead of props and some brilliant asides to the audience - one character commenting that he couldn't do anything because he was being a lamp in that scene to name but one. Taking the mickey out of theatrical symbolism whilst also incorporating the audience into the production was brilliant and this was an excellent one to finish the week on - light and frothy after something of a heavy week.

Conclusion
I found this year tougher than last but that may have been due in part to the weather. However, the standard of the drama this year was exceptionally high and it was no surprise to me that Someone Who'll Watch Over Me took both first prize from the adjudicator and the audience award (it was certainly my choice!). Terra Nova was given second prize - thoroughly deserved - while One Big Blow took third. My opinion tailed with the adjudicator's on four awards, which isn't bad going. I can only imagine how difficult the 'Best Actor' award was for the adjudicator given the standard of male acting throughout the week. One thing he mentioned in his summing up, though, was that was there was a distinct lack of important female characters this year. I don't know if I appreciated the male dominance as much as he seemed to in all honesty. However, it did mean that when I came across an outstanding female performance such as Debby Pickering in Outside Edge and Clare Foster in The Glass Menagerie it felt like a special moment.

A Logical Conclusion to a Grandmother-Shaped Mystery?

One of the most amusing things about my grandmother moving into sheltered accommodation is how she's adjusting to it. After all, this is a woman who has lived independently for plenty of her 87 years. For instance, as her hearing diminished she grew accustomed to turning the television up just that little bit more. Living in a corner bungalow that was fine. Living in sheltered accommodation...maybe not so much. The other evening my dad came upstairs laughing uncontrollably to give me the phone. It was my grandmother on the other end - and she'd caused a bit of a problem.

A few weeks ago she got new hearing aids. Last weekend when we picked her up from the flat I noticed there was a buzzing in the room but I didn't mention it, wanting desperately to get away and not have an hour's debate on the issue. Still, when we dropped her back off my dad noticed it as well and she confirmed it was her hearing aids. They hadn't buzzed at all while we were out so my dad and I privately deduced it was down to some electrical interference somewhere in the building. We didn't mention to her; we didn't want her fretting.

Apparently, though, on Monday the buzzing became too much for her. She took the hearing aids out, closed the door between the living room and the hallway to block the noise and turned the television up to a volume she could hear without the hearing aids. At around half past nine she turned the television off and realised there was someone banging on the door. When she answered it the warden was stood there...with four firemen beside her. I think it was then my grandmother realised the fire alarm above her head was going off.

Well, the firemen and the warden checked all over. Absolutely nothing on fire. She'd eaten around six so the cooker was ice cold. The most she'd done in the last hour was boil the kettle. Everyone was baffled but were sympathetic with the situation - an elderly woman's hearing aids hurt so she took them out, she closed the door so she wouldn't disturb the neighbours and therefore didn't hear the fire alarm going off. The actions of someone trying to be conscientious. This was the first time the sheltered accommodation had ever had the fire brigade out. Quite a feat for my grandmother considering she's only been in there a couple of months. Anyway, the warden put the false alarm down to a fault before she and the firemen left.

After we'd stopped laughing me and my dad talked it over. Something in the flat, and the building in general, was interfering with my grandmother's hearing aids. Isn't it plausible that the something was the fire alarm system? And, if that is the case, isn't it plausible that, working along the same frequency as they obviously were, the hearing aids caused a sudden glitch in the fire alarm system?

Ah, this all conjecture. But, as I mentioned, she moved in less than three months ago. The flat was given a full safety check before then. Odd the fire alarm sprung a fault just as she'd begun to get buzzing in her ears, though, eh?

Remember To Support The Arts

Life is difficult for everyone at the moment. Thanks to government cuts (whether you believe them justified or not), most ordinary people are struggling in one way or another. I'd imagine - although I don't know for certain - that people creating "unnecessary" luxuries of life will be suffering more than most. I heard it during some of the radio debates on the arts funding cuts: who needs art really, what does it accomplish?

Well, just to digress for a moment. Books (if you're willing to buy used) are one of the cheapest forms of entertainment going. They're also an excellent way to learn and, come on, who doesn't like the feel of a book in their hands? Feel free to roll your eyes at my enthusiasm. After all, you can watch television and search for information on the Internet, can't you? Yes, of course you can. But reading a novel and getting lost in it is an unrivalled experience. Equally, I like good old fashioned library looks for learning from - I believe in them more. However, small publishers were particularly battered by the Arts Council this year. One of my favourite publishers of short stories and poetry, Salt Publishing, were unsuccessful in their bid, although they have luckily received a reprieve in the form of some ADVANCE funding. However, other small presses haven't been so lucky. ARC Publications lost their funding in a move which is both demoralising and potentially debilitating for them. Flambard Press are ceasing operation in 2012.

All this is bad news for writers. Small presses are notoriously helpful towards younger writers. Most of them have made it a mission to encourage new talent. If we lose those organisations then new writers are going to struggle more than they already do. Personally, I don't want my book market to be dominated by Katie Price's thirtieth autobiography and the latest copycat book involving a wizard or a brooding vampire. I like exciting fiction and moving towards a system where small presses are increasingly frozen out is not to my tastes at all.

On a more local level, my closest theatre in Wakefield lost their funding. It seemed particularly baffling as they've just entered into a lucrative partnership and are celebrating their twenty fifth birthday this year. One theory bandied around my household is that good old-fashioned theatre just isn't trendy any more. Case in point: the new Barbara Hepworth Gallery down the road received a bump to their grant, some of which could easily have been passed onto the theatre instead. Our theatre's beautiful and I really don't want to lose it.

You can debate about the rights and wrongs of the Arts Council cuts in the grand scheme of things as much as you want. However, it doesn't change the facts. Did you know that 49% of funding has gone to London groups? This is only down by 1% on the 2010 figures. Personally, I find that ludicrous. Similarly, all the groups that The Telegraph labelled as the big winners were from London. The losers? Sheffield Museums, Derby Theatre and Exeter Northcott Theatre. Yes, there were some losers in London but, looking at it, not the majority. I realise that taking a slice out of all funding wasn't the right way to go about it. It did have to be assessed on a case by case basis. I'm just concerned about the North/South divide and the impact on small companies already struggling with the recession. Could the biggest organisations not have taken a small cut to keep these afloat?

So what can we do to help? Well, support the suffering groups. On the day the cuts were announced I bought a book from Salt Publishing to show solidarity (a short story collection I'm looking forward to reading). They've been using the Twitter hashtag #JustOneBook and it applies to all small presses, even those who haven't had their funding wiped out. These small presses are the lifeblood of fiction. Pay full price, buy directly through their websites. Don't give third parties like Amazon any more of the pie than they've already got.

Support your local museums, gallery and theatres. Due to my sudden interest in Wakefield Theatre Royal I stumbled across the Wakefield Drama Festival 2011, being held there at the end of May and into early June. Seven plays in seven nights! Several of which can be legitimately linked to my PhD (one is about Branwell Bronte and another is about the Road murder of 1860). I've bought a week pass for £45 and I'm definitely looking forward to it. The thing is, your local groups don't just need support, they deserve it as well. Most of them do exceptional work which won't be missed until it's gone. By then it'll be too late.

Support the arts!