Songs from "Call the Midwife" - Christmas Special 2018

The Trailer

"Christmas (Baby Please Come Home" by Darlene Love. It was included in the 1963 compilation album "A Christmas Gift for You from Philles Records". Written by Ellie Greewich and Jeff Barry with  a co-creditation for producer Phil Spector. It has been covered many times by artists  on their own Christmas recordings.

The Christmas Special

"It's the most wonderful time of the year" by Andy Williams. Written by Edward Pola and George Wyle, it was recorded by Andy for his first Christmas Album called "The Andy Williams Christmas Album" released in, yes, 1963. It wasn't until a re-release in 2017 that the single reached the charts in the USA (No 10) and the UK (17),

"He's So Fine" by The Chiffons. Written by Ronald Mack, it was in the spring of 1963 that the record made the very top of the Billbard 100 Chart for four weeks.  However it only reached No 16 in the UK.

"Santa Baby" by Eartha Kitt. It was in 1953 that this Joan Javits and Phillip Springer composition was released and earned the singer a Gold Record.

I have yet to determine the song on the radio in Fred's home around the 25/26 minute mark. Any help would be appreciated  .............

I now know it was "A Marshmallow World" by Bing Crosby It was included in "The Complete  Decca Christmas Songbook". Written in 1949 by Carl Sigman (lyrics) and Peter DeRose (music), Bing recorded the song in 1950, The extract on "Call the Midwife" starts halfway through the recording with the Lee Gordon Singers who provided the backing. Many thanks to Vicki Williams for her help.

The next song took some finding (I never use song recognition software). There was something familiar about the simple melody and beat, something in a faraway corner of a memory bank from well over 50 years ago. I heard the word "bird" in the lyric and trawled through novelty songs of the early sixties. And here was "The Bird is the Word" by The Rivingtons. (1963 was fine). But comparing their song on YouTube with that on the TV soundtrack, it didn't quite fit. Their almost identical recording of "Papa-Oom-Mow-Mow" (1962) seemed a better, but not a perfect fit (Nothing about a bird). And there was no drum solo on either recording as there was on the soundtrack. And then ...... I found The Trashmen and their recording of "Surfin' Bird", a compilation of both the previously described songs along with that drum solo. This recording reached an unbelievable position of No 4 in the USA charts but only No 50 in the UK. Drummer and vocalist Steve Wahrer was originally credited with the composition, but this was changed after The Rivingtons successfully sued for plagiarism to that band's Al Frazier, Carl White, Sonny Harris and Turner Wilson Jr. So "Surfin' Bird" it is.

Not a song, but I have included the "Animal Magic" theme tune "Las Vegas" composed by Laurie Johnson.

"My Baby Just Cares For Me" by Nina Simone. Written by Walter Donaldson with lyrics by Gus Kahn, it originally featured in the 1930 movie version of the musical "Whoopee". But it was a UK 1987 perfume commercial that projected Nina Simone's 1958 cover version into the limelight when she sang the accompanying song.

"Frosty the Snowman" by Gene Autrey and the Cass County Boys. Written by Walter "Jack" Rollins and Steve Nelson, this was the original 1950 recording that reached No 7 in the USA charts.

Apparently there is an extract from "You're all I want for Christmas" by Frankie Lane, but I missed that completely.

Ever, Dirk - The Bogarde Letters - Edited by John Coldstream

I started this book many months ago. At over 600 pages of letters written by Dirk Bogarde from 1969 to 1997, this is a book to dip into now and again. I had already read most of his autobiographies from "A Postillion Struck By Lightning" to "Cleared for Take-Off". I tried one of his novels ("Jericho") and gave up after only a few pages. One of the first films I can remember I saw at the cinema was "Campbell's Kingdom" where Dirk played the lead, having already starred in a number of the "Doctor" comedies which I may have seen but cannot recall.

So, having read his autobiographies, I was familiar with a lot of the stuff he includes in his letters to friends, family and colleagues at his publisher. The time he lived in France at Le Pigeonnier in Provence is vividly portrayed in his correspondence. I found the comparison of his writing about his time with the Rank Organisation before he left England, and the movies he made afterwards ("Victim", "Accident", "Death in Venice" etc) was quite enlightening.

It is in France that he begins to write those memoirs. About "Postillion" he writes "I'll really crumble when the critics bosh me this time". But of course it was a big success. He describes a trip back to the UK for a book signing at Hatchards as "probably the most important day of my life ...… to be still remembered ...... kindness shown ...... being thanked". As an actor he had no interaction with his public. But at his book readings and signings he came into personal contact with his fans and, mostly, revelled in the feedback he received from them all over the country.

There is one particular brilliant piece from 1981 about his return to making a movie for Hollywood. "The Patricia Neal Story" stars his great friend Glenda Jackson in the title role and Dirk plays her husband Roald Dahl.

We hear in May 1986 that the French Odyssey may be coming to an end due to the medical problems being suffered by his partner Anthony Forwood. By August Le Pigeonnier is sold and they are soon back in London. We are now in the territory of his memoir "A Short Walk from Harrods" which is one of my favourite books of all time. In letter form, the emotions of coming to terms with Forwood's eventual death are spelt out in raw script. Not only that, but at first Dirk feels like a stranger in a London with which he is not impressed.

Gradually he comes to terms with his lot, carries on writing and begins to submit to his fame and actually starts to enjoy it. Dirk comes across as not an easy man to get to know. Those with whom he makes friends are treated spectacularly well. Others not at all. Simon Callow in his review of this book describes him as an "egregious conundrum". I find him exceedingly opinionated, sometimes downright nasty, but underneath accepting that he has flaws like any other man or woman. He was never arrogant about his work, whether that be movies or books. He cared about his friends and (some) relations. His work in the cinema and literature made him a hugely important figure of his time. 

Love and Fame, We Have Always Lived in the Castle and Something to Hide

Love and Fame is a typical Susie Boyt novel, full of wit, with clever and precise writing. The words just flow from the page. When asked the question "Like when people say make your hobby your job?" the answer is "Kind of. Maybe. Not sure. I might mean the opposite of that". There are times when discussions about anxiety and grief go on too long, but then a passage just over half way when a mother puts her sad daughter straight about the after effects of death is superb.

As the story progresses, so the intensity increases. A conversation between sisters was worth the price of the book alone. It would have made a great short story. I did prefer the author's "The Small Hours" but this was close.

Right from the start of We Have Always Lived in the Castle, our eighteen year old narrator, Mary Katherine Blackwood, seems strange. She hates the people in the village (but maybe not as much as they hate her family) as she carries out the shopping duties for her older sister Constance and her infirm Uncle Julian. This is the aftermath of a family disaster, most of whom are dead. Is Constance to blame?

This is a story about sibling love, one that is incredibly powerful. We learn a lot about what happened from Uncle Julian, whose mind falters at times, but at others is a sharp as a button. The descriptions of the Blackwood House and the village are particularly good. When a visitor arrives the book "descends" into uncomfortable territory, only to be somehow resolved before the end. These are sisters I wont forget in a hurry. 

I first read a Deborah Moggach novel five years ago when, what was her latest book, Heartbreak Hotel received good reviews. So working backwards on the nineteen titles she has published so far, next came In the Dark and then Final Demand. Avoiding the two books that have been made into movies (the excellent version of The Best Exotic Marigold Hotel and the frightfully disappointing Tulip Fever) I found her latest novel Something to Hide to be typical of her writing. Not a literary masterpiece but she does tell a really good story. 

The first half is predominantly a romantic drama, although typically the characters are mature to say the least. Chapters skip from continent to continent as other stories evolve. The pace picks up half way through as the book enters mystery thriller territory, full of twists and turns with a very strange but enthralling road trip. I would normally have avoided a novel with partly an African setting, but this author concentrates on plot and relationships and this works quite well. 

Widows, Fantastic Beasts 2 and The Girl in the Spider's Web

Widows is a  well plotted and powerful film that is never less than gripping all the way through. Steve McQueen has provided us with some terrific Chicago locations, a great score and some topical themes about corruption and abuse. Viola Davis is outstanding, Colin Farrell the best I have seen him act and a menacing Daniel Kaluuya lead a superb ensemble cast. The only reservation was the predictable and  ordinary script. Not a patch on Drew Goddard's "Bad Times at the El Royale". Gillian Flynne could learn from him.

I only went to test out the IMAX screen at the Odeon in MK as Fantastic Beasts 2 was shown in 2D. Absolutely not worth the extra cash for  a big screen and louder sound. My review for the first in this series of pre-Potter films said "not for me" and I should have taken note. The story is very simple, except when late on someone does a rushed explanation of who is who. There had been complaints about multiple characters and too many sub-plots, but I thought it was just padding out the time. Jude Law was fine as a younger Dumbledore but Johnny Depp was so lone dimensional. I thought to begin with he seemed pleasingly mortified about causing some early deaths, but then his expression never changes.Katherine Waterston is a fine actress, but here she seemed so flat. I blame the script, not her. And then that awful ending. Thanks JK for nothing. Note to self: enough's enough.

The critics were mainly unimpressed by The Girl in the Spider's Web, but I thought it was a very decent thriller. OK, there was nothing really new, but the action sequences and especially the cinematography were firs rate.Claire Foy is startlingly indestructible as Lisbeth Salander, and she needs to be. Lots of twists along the way and good use of her unbelievable hacking skills. Director Fede Alvarez has done well with half the budget of the previous movie. However we are on the third actress to play Lisbeth after Noomi Rapace and Rooney Mara. Even James Bond actors nearly all got more than one film.

Moral Disorder, Dunbar and The Seven Deaths of Evelyn Hardcastle

I was so impressed by the first of the eleven stories (or were they chapters?) of Moral Disorder and I wondered if we were in for something special. However, those that switch to childhood and young adulthood were quite ordinary. Later on, the four stories when Nell lives on a farm were incredibly boring. I think that the stitching together of some old and new pieces did not give any coherence to the life of the central character. To me, it ended up a jumble. 

The least successful of the Hogarth Shakespeare series so far. Dunbar began so well, especially the relationship between mega businessman Henry Dunbar and his comedian assistant Peter Walker. The plot was nicely constructed, a lot of witty writing. However, by half way we were subjected to too much of this stuff: "Dunbar was the man who placed the wafer on their outstretched tongues, transubstantiating the corrosive passivity of fear and envy into the dynamic single mindedness of hatred". And so on. The ending, although we know what happens in the play, is a disappointment. 

This is a book to really test your memory. As the author describes it, a time-travelling, body-hopping murder mystery novel. More like "Groundhog Day" meets "Changing Places" meets Agatha Christie. Give the writer credit, he does give us quite few reminders of important clues along the way. Or are they clues or red herrings? I was able to keep up for most of the book, it was only the ending that I couldn't follow. Is that so often the case?

There is clever use of the first person narrator throughout, we inhabit the strangeness of his (their) fate. As he puts it "Are things always like this, explanations before the questions?". As things get worse "If this isn't hell, the devil is surely taking notes". This is no great literary enterprise, but mostly an enjoyable twisted thriller. 

Pinter Four at the Harold Pinter Theatre

Twenty of Harold Pinter's one act plays are being performed in seven sets at the theatre named after the playright. I chose the fourth set "Moonlight" and "Night School". I have to agree with most of the critics that these are not Pinter's best work. However, they still contain his classic word play and use of language. Lyndsey Turner has directed the first where Andy, played full tilt by Robert Glenister, is confined to his bed and (maybe) approaching death. Bel (a fine Brid Brennan) is his long suffering wife.

I was not impressed by the short scenes. I much prefer Pinter when his two characters have time to develop the story as in "No Man's Land" and "Betrayal". So sons Jake and Fred (miles away?) banter (on and off) with no real purpose. It is only when Maria (the consistently brilliant Janie Dee) visits the bedside that things sparkle.

The earlier second play "Night School" is a more coherent piece. The same actors from the first act are here again supplemented by Jessica Barden as Sally. She is the lodger who has taken the bedroom of Walter (Al Weaver) who has just returned from prison. The extended dialogue with Walter's two aunts, Brid Brennan and an unrecognisable Janie Dee is the best of this production.

I wasn't too keen on the set, a revolving stage with four pillars at the corners. And a drummer for the score? Director Ed Stambollouian should have concentrated on the script so we are not distracted by superfluous effects. But any Pinter is ultimately worth seeing, and this was no exception.

The Royal Academy Redevelopment and Pinter Four

This was my third exploration this year of new architecture in London. After Paddington Basin and the Victoria and Albert Museum, yesterday I visited the Royal Academy to see how the £56 Million upgrade had transformed this historic centre. I started at the old main entrance on Piccadilly.

Ignoring the galleries in Burlington House that I had visited before, I made my way to the bridge that takes you to the new restoration of 6 Burlington Gardens. First encountered is the staircase.

My photos from the bridge........

... compare nicely with that below from the Sunday Times Culture magazine of 20th May 2018 that gave me the encouragement to plan this visit.

6 Burlington Gardens is where the vast majority of the work took place. The building was acquired by the Royal Academy in 2001 and was established as the Museum of Mankind. David Chipperfield Architects won the competition at the third time of asking and ten years later their designs have come to fruition. The entrance on Burlington Gardens is now a fine renovation of the facade and historic sculptures.

Inside I needed to find a floor plan that showed the new spaces, however I had to wait until today to find one.

6 Burlington Gardens is at the top. On the right is the new lecture theatre, on the left the Pace Gallery (more later). Immediately above the bridge are two new temporary galleries, including the one for the Renzo Piano exhibition (also see later). These have extended the overall gallery space for the Royal Academy by a staggering 70%. These are contemporary spaces, full of light and modern materials. "The Gabrielle Jungels-Winkler Galleries provides the Royal Academy with an impressive third suite of galleries for temporary exhibitions. Refurbished with state of the art conditions, the galleries are naturally day-lit and will support an exhibition programme of contemporary art and architecture".

I had booked a ticket for the Renzo Piano - The Art of Making Buildings. The gallery as below:

From the Centre Georges Pompidou to The Shard, on display are drawings, photographs and models of many of his famous buildings. What amazed me most of all was how Renzo Piano embraced the science of structure into his designs. The free brochure that accompanies the exhibition says: " Piano comes from a family of builders, and has developed a complete command of the construction process, designing, as he says, "piece by piece". His work with Arup Engineers and engineer Peter Rice with whom he joined the partnership Atelier Piano and Rice in 1977.

I was impressed by his work on the joints in the structure of his designs. I learnt about the "gerberette" that connects beams, columns and external bracing at the Pompidou centre. Not only a piece of engineering magic, but beautiful in their own right.

The complexities of The Shard's design are well documented. I liked the bound A3 size presentation packs and especially the early sketches complete with illegible notes.

The models and creativity of the Cultural Centre in New Caledonia are amazing.

The Whitney Museum of American Art is amongst the 16 buildings, each on it's own white square table.

Leaving this gallery, I found the Pace Gallery noted above. I was more interested in the gallery itself rather than the Brent Wadden exhibits.

It was lunchtime when I left the Royal Academy. I didn't have too long before I was due at the theatre and the queues at Pret a Manger and Costa Coffee on Piccadilly were too long. However there was no queue at Cafe Nero on Haymarket where a coffee and a toastie were perfect.

For the afternoon I had booked for the matinee for Pinter Four at the Harold Pinter Theatre - see separate post.

Tring Book Club - Three Things About Elsie

In her first novel The Trouble with Goats and Sheep, Joanna Cannon alternated a ten year old narrator with third person chapters. In her new book Three Things About Elsie our narrator Florence is eighty four, again switching to third person chapters, this time for two other characters. This works really well, especially as Florence is struggling with her memory. The author writes lovingly about ageing, the residents and staff of Cherry Tree are all sympathetically described. We get to know them so well.

There is a mystery at the heart of the story, one that Florence is trying to unravel in her inconsistent mind. The Elsie of the title is her best friend, a calming influence in her often troubled recollections of the past. At their retirement home arrives a man from the past. "For someone so full of violence, his voice was almost soft and whispery". Florence needs to do something. She might have read what Grace did (in that first book) and her advanced years was not going to stop her. 

Nerina Pallot at The Stables, Milton Keynes

Despite owning all her albums (except "that one"), I had never seen Nerina Pallot live. So when she was playing solo at The Stables last night, I was not sure if it would be as good as she is with a band on her recordings. How wrong I was.

She sits at the beautiful black grand piano and plays those fabulous opening bars from Juno, the first track on her latest (and in my opinion, best) album Stay Lucky. Her voice comes in, pitch perfect, sweet and soaring. I am blown away. We don't need a band. She is brilliant on her own. In fact, with a band there would be no room for that shiny grand piano and that is what her best songs needed.

I was lucky to have a seat at the side of the stage, so although she faces directly to tiered stalls, I am close enough to see her hands float across the keyboard. This is a wonderful experience, what a superb musician she is.

Four songs at the piano, including Idaho (one of five songs from her album Fires) and my favourite My Last Tango from dear frustrated superstar. I had left a note on her Facebook page hoping she might include it, but it wasn't on any of her previous set lists. I have always thought that Strictly should use this track whenever someone has to dance the Tango. That instrumental section towards the end is quite something.

Then a change to a guitar accompaniment, two songs with an acoustic and two with an electric. I would have preferred Daphne and Apollo on piano, but it gives Nerina a chance to talk about her early days learning the instrument and only three chords needed for this number.

After a short break, it's back to the piano. The second half includes Stay Lucky, the title track from the album with The Heart is a Lonely Hunter and All Gold from the same collection. I also remember Human, Everybody's Gone to War, Mr King, Geek Love and finishing the set with Put Your Hands Up.

Of course Nerina comes back for an encore, and it had to be Sophia. A superb performance and a memorable evening.

Wise Children at the Oxford Playhouse

Almost exactly three years ago, I posted my review of Rebecca at the Oxford Playhouse.

Last night it was the turn of Kneehigh Theatre to bring us Daphne Du Maurier's Rebecca. Emma Rice is the Jojnt Artistic Director of Kneehigh (she becomes Artistic Director of The Globe next year - watch out Globe audiences) and has adapted and directed this classic story. And what an amazing theatrical experience she has created. This is what modern theatre is all about, it really engages with the audience. So we have sea shanties (the setting of Cornwall for the book and the home of Kneehigh is important here), we have comic songs, comic dances and a set to die for. Most of the audience will know the plot, so the combination of melodrama and humour works really well.

What a prediction that turned out to be. Following two seasons of her typically inventive productions at The Globe ("How did I get to be so controversial?"), the board gave Emma a vote of no confidence and she walked away. Fortunately for us outside London, her brand new touring company, also named Wise Children, have given us another all singing, all dancing spectacular. Hugely ambitious in it's plot, we get to know the full history of the twins, Nora and Dora Chance from their conception to adulthood. 

Their family is interwoven with that of the Hazzards, It's a good job that we have narrators to unravel the complexities of the plot, in the form of the eighty plonk Nora and Dora as they look back on their life. As babies they are puppets, brilliantly handled by the cast, as a pair of young children, adult actors Mirabelle Gremaud and Bettrys Jones are wonderful and as young adults Melissa James and (yes, a man) Omari Douglas are awesome. Actually awesome. Here they are:

Either side of them in the picture are the ancient twins, brilliantly played by Etta Murfitt and (yes, again a man) Gareth Snook. This alternating age, genders and race is all part of Emma Rice's devil may care attitude to casting. As long as they are good. Here are Melissa and Omari again, with some Hazard children.

Eclipsing them all is Katy Owen as Grandma Chance. She completely brings to the party that coarse and mischievous talent that the Director so adores. 

Add in a bawdy comedian from a 1950's end of the pier show and Paul Hunter is not only funny, but he doubles as the older Melchior Hazard.

If you like something that is a cross between a play, a musical, cabaret and a revue, this is for you. Angela Carter's book may not be to everyone's taste, but Emma Rice was smitten and it makes a worthy start to her new project. Sheer entertainment, with a tough moral story bolted on.

The Royal Ballet's La Bayadere - Live in Cinemas

The last time I was in Aylesbury Odeon's big Screen 1 was for a live screening of the National Theatre's "Julie" when there were only a couple of dozen in the audience. How different for last night's "La Bayadere". It was packed and I was lucky to find a decent seat. No wonder, this was a brilliant performance.

I think we have only seen this ballet once before and that was when The Royal Ballet performed it at the London Coliseum in July 1998, The three starring roles were played by Viviana Durante (Nikiya), Irek Mukhamedov (Solor) and Deborah Bull (Gamzatti). This time Marianela Nunez was a poised and beautiful Nikiya, Vadim Muntagirov a strong, tall and athletic Solor and Natalia Osipova as a startling and powerfull Gamzatti. All three are exceptional dancers of world class. The first two in the top photo and Osipova below.

The second act is mainly the twenty four strong female corps de ballet in The Kingdom of Shades scene. Quite an exquisite performance. The Royal Ballet's website describes it as follows:

The Kingdom of the Shades scene in Act II is one of the ballet's highlights, in which a series of arabesques across the moonlit stage demonstrates the strength of the corps de ballet and the beauty of Marius Petipa's choreography.

So I have learned what is an arabesque: a posture in which one leg is extended backwards at right angles, the torso bent forwards, and the arms outstretched, one forwards and one backwards. In this ballet, the movement is repeated 39 times as the corps de ballet are introduced one by one, in line,  down a ramp and onto the stage. I only know it was thirty nine thanks to  Darcy Bussel and Petroc Trelawney who introduced the ballet and conducted interviews before it started and during the two intervals. There was also some great footage of backstage rehearsals. A memorable evening.

Age Category Firsts

This week I picked up my trophy for being first in Age Category 70+ at the South Bucks 10K. However there were only four running in my age category. I can add this to my other three firsts.

The medal was for being first in the 60+ from the Charvil 5K, the only time it was ever run. It was presented to me by Theresa May - see posting 17th June 2012. There were only two in my age category and I think the other man walked!

The two certificates from Milton Keynes Festival of Running - the Half Marathon 2017 and the 10K 2018 both had five runners in the 70+ category.

All put into perspective when at the Great South Run this year I was twelfth out of 55 in my age category and last year sixteenth out of 80!

Bohemian Rhapsody, Halloween and Juliet, Naked

Despite the ordinary screenplay, most of the acting and the overlong second half, I thoroughly enjoyed Bohemian Rhapsody. Rami Malek is outstanding as Freddy and his relationship with his family and early days with Queen are well  portrayed. I was never a great fan of the band, but never disliked them. Now I know how great t would have been to see them live. There were so many great songs, John Deacon playing a new riff (that became "Another One Bites The Dust) to split up an argument and the audience singing "Light Of My Life". The first number during the final part at Live Aid (Bohemian Rhapsody) was so poignant given the lyrics of the first verse and Freddy on is way out.

It was interesting to learn afterwards that Tim Staffell, the original bass player and vocalist, who quit the original band called Smile, was invited by Brian May and Roger Taylor to join them to record their old number "Doing All Right" for the movie.

There were some moments in Halloween that I enjoyed. But unfortunately, the screenplay was pretty wooden. Fortunately, the scares were not that scary (I avoid all those new horror films that try to do just that). There were just too many of them. I should have given it a miss despite the mainly positive reviews.

My blog posting of the 7th August 2010 goes:

Nick Hornby is one of my favourite authors, and his latest, Juliet, Naked is one of his best. The title refers to a stripped down version of an old forgotten rock star's only classic album. Duncan is an obsessive fan of Tucker, but it is his partner Annie who makes the right connection. The writing is sharp, very funny and quite touching. It is one of those books that you make time to read as each time you pick it up, there is a new delight. Yes, it would make an excellent movie.

But not this one. Jesse and Evgenia Peretz have made a real hash of adapting the book for the movie. I didn't laugh once. Just thank goodness for Rose Byrne. She is as marvellous as Annie as Chris O'Dowd is unbelievably miscast as boyfriend Duncan. Ethan Hawke does his best as Tucker Crowe, The location of that brash seaside town looked familiar. It turned out to be Broadstairs that I can just about remember from a family holiday when I was a child. The choice of songs for the soundtrack was good, just a shame most of them are not on the album.

New Boy, Zennor in Darkness and Rose:Scenes from a Vanished Life

The fourth book on my list of Hogarth Shakespeare publications, New Boy is a modern retelling of "Othello". Tracy Chevalier has set her story in a suburban school in Washington D.C. The students are shortly to move to a junior high school so are 14 going on 15 despite some reviews to contrary ages (even that in The Guardian). Osei is the first black boy to arrive at the school. Well we are in the 1970's.

It is interesting how the author weaves elements of the tragedy into her version of race and power. There was a point about halfway when I did get a little tired of the playground bickering, but ultimately this short novel delivers an emotional punch. Though what Shakespeare would have thought about the skipping rhymes would be something. 

Helen Dunmore's first novel gives hints of what is to come. All her other ten novels on my bookshelf are better, but Zennor in Darkness is still worth reading. I thought at first it seemed very ordinary, but the story and the writing soon picks up. It is an interesting mix of fact and fiction. The central character is a young Clare Coyne who lives with her father in St Ives, a short way from Zennor where D H Lawrence has taken a cottage with his wife Frieda. The writer was actually there in 1917 when the book is set, and the fact that Frieda is German makes for a tense atmosphere with many of the locals.

When Clare meets Lawrence they strike up a friendship. Clare is encouraged to visit his wife as she knows no women there. Clare retorts "Is that sufficient recommendation - the fact that I'm a woman". I preferred the fictional relationships of Clare and her cousins family, making do with the limited resources of wartime. The trauma of those relations who died or return damaged is eloquently described as is the impact on the community. 

Not everyone has a great childhood. Despite a mother, not exactly from hell but definitely not heavenly, who packs her off to boarding school at the earliest opportunity, Rose Tremain did "enjoy" an education far superior than many and which paved the way for her later success as a writer. So this memoir is a story of ups (her relationships with her sister, school friends and teachers are the best part of the book) and the downs of a mother who was selfish and self centred. I wasn't interested in the descriptions of places where she lived, but I did feel transported to this early part of her life. At the end there is an Afterword of three pages. I hope this will form the basis of the next chapter of her autobiography. 

Manon - English National Ballet at Milton Keynes Theatre

For the last few years English National Ballet have included Milton Keynes Theatre on their autumn tour and we have been lucky to see a few wonderful performances. Last night it was Manon, a ballet we had never seen before. After a late afternoon shopping trip we had dinner at ASK and perused the Wikipedia brief of the story and it's background. Who needs a programme.

Inside the theatre we had superb seats with a great view of the orchestra. Everything about ENB performances in top drawer. The soloists were great, especially Begona Cao in the title role. She was just fantastic. The group dancing was spectacular and colourful, the story was easy to follow, the staging, lighting and music was excellent. With a forty piece orchestra, the English National Ballet Philharmonic never played a wrong note.

The theatre was disappointingly only two thirds full. I hope that will not stop ENB visiting MK.