Maidenhead Easter Ten 2018

Easter was early this year and the weather was distinctly chilly. This was the fifth time I ran the Maidenhead Easter Ten that is always held on Good Friday. It was my third best time (1 hour 37 minutes 41 seconds), but probably my most pleasing as training had been interrupted by my dental surgery two and half weeks ago.

I ran to a plan, as near as I could get to 9 minutes 50 seconds a mile. A little faster in the first half, but keeping my heart rate around 150 bpm.  It was this that pleased me most. My overall pace had increased above the 9.50 by miles eight and nine. However, as we come out of the last field crossing onto the main road of Woolacott Way, it becomes slightly down hill and you hit the nine mile mark. The last mile is on the main office park roads and for some reason I was able to increase my pace to, what I calculated later, well under nine minutes.

So, in the end, my overall pace was 9 minute 44 seconds per mile at an average heart rate of 158. But after my first place (out of five 70+)  at Milton Keynes 10K, I was brought back to earth coming 7th out of 14 in this category. Compared with last year when I came 2nd out of only 5. Overall I came 974th out of 1,239 runners, outside the top two thirds compared with inside the top third at MK. But this race in a county championship and mainly attracts good runners.

But that last mile was amazing; perhaps not like other races, I had left something  out on the course.

The Girl Before, Reservoir 13 and Greatest Hits

The Girl Before is the kind of book that will put me off thrillers for life. Half way through I was sure. I just wanted it to be over, although I had to find out what happened, and maybe that signifies something. It is therefore probably unfair of me to criticise a genre that is not for me. But I have read better books in this category. The writing isn't bad but isn't good. Because it is nearly all plot. 

The construction of this book dominates, almost suffocates, the story. I found Reservoir 13 pretentious, gimmicky and annoying. The interweaving of the natural world with the fragmented stories of the lives of certain people who inhabit the village (unnamed, what would you expect. But then the neighbouring village of Cardwell is named! See what I mean about being pretentious?) Of course there are no inverted commas for dialogue that is mixed up with descriptions of insects, wild flowers, the reservoirs, badgers etc., etc. These constantly interrupt and even stall the narrative and sometimes incidents are left hanging in no man's land. "Her phone beeped and when she read the text a smile opened on her face". So be prepared. There were worse than that.

Then there is the repetition. The missing girl's name was Rebecca, Becky or Bex. Yes, we know her name and we know they looked for her! Stop repeating! The fireworks, as each of the thirteen years begin. The lives of the foxes, the problems with the school boiler, more fireworks. And despite the repetition of the scenery, the tearooms, the river, the hill, the moors, the reservoirs, somehow I found it difficult to picture the place.

The prose reminded me of the short story "The Pier Falls" by Mark Haddon. Perfect for a devastating human story, but not like this. I wanted to know so much more about the characters, but they appear in very short bursts, sometimes just a sentence. There was a good idea here, tracing the life of the village through thirteen years (why thirteen?). But the author makes a hash of it. Fortunately, the last third was alittle better. There is the basis of a wonderful story in the family life of Austin and Su, and the relationship between Richard and Cathy. These would have made a great central theme for another novel. There was one page, late on that was absolutley superb.

So, fair play to the author for trying something different. Just a shame I found it so annoying.

I started thinking that if Sandy Denny had lived, this was the book that might have portrayed her life. But later, cleverly, the author lets Cass Wheeler see her in concert, and gives Sandy other name checks. Laura Barnett is such a good writer, I loved her first novel "The Versions of Us". In her new book, Greatest Hits, she plays a game with us. Cass is looking back on her life as she chooses songs from her successful career for a retrospective album. She sets us the task of finding how each one reflects a particular event.

You know, early on, from hints the older Cass gives us, that things are going to get messy. These heart breaking moments are all the more vivid for guessing what was coming. My only criticism is that, despite only a fleeting mention of her composing this type of song, there was no break-up album. There always would have been. She also mentions, very late on, "a pair of sisters from Oregon". If they are a band called JOSEPH, there are three. But this is one book I will never forget. 

Lady Bird, Finding Your Feet and Tomb Raider

Lady Bird seemed to me to be straight off one of those American TV dramas that, I must admit, I don't watch. I almost walked out after twenty minutes of boredom, but I think I'm glad I stayed. Saoirse Ronan did well in the title role of a pathetic and unlikable teenager. The adults were much better. The ultra sharp editing was ridiculous, but it did save on some excruciating scenes.

I found Finding Your Feet much more agreeable. The story was pretty obvious, but the screenplay by Nick Moorcroft (and Meg Leonard? Really?) was fine. What amazed me was how the cast of well known British actors through themselves into their roles. They were all so good, especially Celia Imrie. Well done to director Richard Loncraine for making this an enjoyable experience.

I thought Tomb Raider might be OK. It wasn't super hero or fantasy stuff, although the last part was pretty predictable, just another tomb, obviously. I preferred the back story, and Alicia Vikander did show an early vulnerability as a youthful Lara Croft. That is until the real adventure starts.

Roots, Radicals and Rockers by Billy Bragg

This book is everything I hoped it would be and so much more. For someone who played and played an uncle’s 78 record of Lonnie’s Rock Island Line whilst at my grandmothers on holiday in 1956/7 (I was only eleven or twelve at the time) and was completely entranced, this brilliant volume fills in so many gaps of what I thought was a good grasp I had of the events of the time.

So, let’s start at the end. The author picks on a great story about a 1960 documentary describing youth culture of the day. Made by Daniel Farson, he finds a young poet called Royston Ellis. It was Ellis who later finds a flat where, amongst others, there are four young musicians who play at the Jacaranda night club. He becomes friends with them and introduces them to a Vick nasal inhaler. And claims he was the one who suggested they change the “e” to an “a” to become The Beatles. There was a nice reminder of how The Quarrymen Skiffle Group in 1957 transformed into the biggest band in the world. But that comes later.

Skiffle was a solely British phenomenon. Staggeringly demonstrated by the fact the Microsoft Word does not recognise the word. (Skiffle, not phenomenon). The book has a marvellous opening in describing its origins and particularly what influenced jazz musician Ken Colyer from his trips to America.

There is a detailed account of the early history of traditional jazz in the UK and how it spawned the breakdown session. It was Bill Colyer who suggested to brother Ken that in the break that the band (The Crane River Jazz Band) took in the middle of their performance, they could play some old American roots music (Lead Belly songs particularly) with a guitar, washboard and bass.

When Ken returned from his trip to the USA (there is a fabulous account of his time there) in 1953, some familiar names (to me) were waiting to form a new jazz band, amongst them Chris Barber, Monty Sunshine and a banjo player called Lonnie (was Tony) Donegan. Their own back stories are a revelation, especially to someone who owns their recordings on vinyl. The band toured Denmark of all places and it was Lonnie who would sing some songs in the gap in the performance (that breakdown session again). He had already started that tradition while with the Chris Barber band.

Then comes one of those many gems that knocked me out. Armed with a domestic Grundig tale recorder, Karl Emil Knudsen organises a recording session at the Gentofte Hotel in Copenhagen. He records not only the whole jazz band’s set (which he later releases commercially) but also some of breakdown session numbers. These would only come to light years later, but four open the Acrobat Music anthology of Lonnie’s work Midnight Special: The Skiffle Years 1953 – 1957. As a huge fan of Lonnie, it was a privilege to find them on Spotify. With Lonnie on banjo and vocals except for the last of the four when Ken sings a turgid Midnight Special.

Bragg goes on to describe how the word “skiffle” came into being. That same year, it was appropriated by Bill Colyer during an interview with the BBC when asked what sort of music the breakdown group was playing. He could have answered folk, country, blues, gospel, but instead picked on a word that would dominate the British music scene in the mid fifties.

1954 was a big year. The dawn of skiffle saw Ken Colyer’s new jazz band recording Back to the Delta in June which included three songs by Ken Colyer’s Skiffle Group (the author explains why). These were the first skiffle recordings to be released. Then the following month the Chris Barber jazz band recorded New Orleans Joys. This iconic moment is thrilling described as a final session found Lonnie (guitar), Chris (bass) and latecomer Beryl Bryden (washboard) recording four skiffle numbers. Amongst these songs was Rock Island Line and the rest is history.

Listening to these recordings on Spotify (again, Midnight Special: The Skiffle Years 1953-1957), I was amazed to find, that after all these years, what a superb performance Lonnie brings to these single takes. His voice has been honed to a sweet yet powerful delivery and the energy of the group is staggering. Although this recording of Rock Island Line (that was released as a single the following year and made the top ten in both the UK and USA) is what launched the skiffle craze, I actually prefer Wabash Cannonball and John Henry. Even the other track, Nobody’s Child, is a glimpse into future rock ballads.

There are occasions in musical history where everything clicks, and this was one of them. If you listen to Ken Colyer’s skiffle songs from Back to the Delta, (Midnight Special, Casey Jones and K C Moan, and compare them to Lonnie’s, you will see how the latter is on another planet. Rock Island Line was released on 11^th November 1955 as a single with John Henry on the B side. The first record chart of 1956 saw the single enter the charts at No 17. The author notes “The first British artist to get into the charts singing and playing a guitar” and “Folk at a rock n roll tempo from an ex jazz musician by a composer of blues, Lead Belly”. Denis Preston has a big part to play.

Another comparison, this time one of mine, is to listen to other recordings of Rock Island Line as even American artists tried to cash in on it’s success. They all miss the raw energy of Lonnie. Even Bobby Darin (his first single release) and Johnny Cash are no match.

There are many fascinating anecdotes from the period. The Backstairs Session EP recording by the Lonnie Donegan Skiffle Group (the first stand-alone skiffle release), Lonnie meeting Bert Weedon, (me remembering meeting Bert at a dinner and him signing my programme), Lonnie’s visit to the USA where he appeared on TV, toured and was backed by an American rock and roll trio. His influence on this side of the Atlantic was unprecedented. Art Garfunkel’s first recording was Rock Island Line, it was the first song Phil Spector learnt to play on guitar and Buddy Holly sang it live.

Interwoven with historical detail of the music, Bragg gives us a wonderful portrait of 1950’s culture. The blandness of the BBC and the innovation of commercial television. Films from the time including Blackboard Jungle and Rock around the Clock. I thought the author was going to gloss over all the riots the latter movie spawned, but no. He goes into superb detail over seven pages of research. There is also a piece about Radio Luxembourg that had particular relevance for me, having listened to the only modern music station of the time. (Yes, I was an Ovaltiney.) And how this station played Bill Hayley’s controversial Shake, Rattle and Roll that the BBC refused to play despite it reaching No 4 in the UK charts.

There is a good section on American artists. Bill Hayley “having lit the fuse for rock and roll, his next record was a mambo”. The rise of Elvis is documented. Bragg felt the same as me: “Negotiations under way to bring Elvis to the UK. Good luck with that!” British labels were plying the public with home grown versions of American hits, not always successfully.

I would recommend the hardback copy of this book for the photographs and posters alone. From the three musicians who played on Rock Island Line to The Quarrymen in 1957.

Back to the music. There are extensive sections on the growth of skiffle in the UK. Many of the groups are mentioned including The City Ramblers who I cannot remember at all. The 1950’s folk scene emerges and seems to dovetail with skiffle. I well remember the songs Freight Train by Nancy Whisky and Chas McDevitt and Last Train to San Fernando by Johnny Duncan. The book relates the rise of these bands and others.

Lonnie was back from the USA in July 1956, put a band together and recorded new material. Lost John made No 2 in the charts, but Bring a little Water, Sylvie was less successful. However, it was this recording that, for me, marked the end of skiffle for Lonnie. Long before Chewing Gum and Dustman, producer Denis Preston brought in guitarist Denny Wright “who brought new energy to the group”.

Not only energy but to my mind ELECTRIFICATION! Bragg does not really spell this out, but to me these recordings mark a sea change. Hardly noticeable on Sylvie even with a short solo, the next single (again from 1957) Don’t You Rock Me, Daddy-O presented Wright’s electric guitar up front. The solo is pure early rock and roll. This charted at No 4 and the follow up Cumberland Gap (1957) was Lonnie’s first No 1, with Denny Wright’s electric guitar solo again. So, the acoustic line up from Lonnie’s early work was gone forever.

Listening now, I find these recordings are up-tempo versions of folk songs, although some of the words also give hints of novelty numbers to follow. This, to me, is demonstrated by the next single that also became a No 1 hit. Still in 1957, Gamblin’ Man was coupled with the more comedic Puttin’ on the Style.

It certainly didn’t occur to me at the time, but I can’t help thinking that it was the electric guitar of Denny Wright, and those who followed him in Lonnie’s band (Jimmy Currie on Jack O’Diamonds, Bill Bramwell and Les Bennetts) who inspired many of the rock musicians who followed. Paul McCartney credits Wright on Wikipedia.  On YouTube, there is a live recording of Cumberland Gap at Conway Hall in 1957 with an amazing solo from Denny Wright himself.

Lonnie was now a big star, and Bragg relates his appearances on TV and on tour. It was the live performances that had such a big influence on future musicians, some whom would become the biggest names in popular music. Lonnie’s chart success was limited in 1958, however towards the end of the year, Tom Dooley reached No 3. Although the author describes how the end of Lonnie’s dedication to skiffle ended in 1960 with his No 1 hit of My Old Man’s a Dustman, he misses Lonnie’s sell out to comedy songs in early 1959 when he recorded Does Your Chewing Gum Lose Its Favour (On the Bedpost Overnight?) But he had already been in pantomime at the end of 1957 when he played WisheeWashee in Aladdin.

During this period, the American influence of rock and roll was growing. Bragg gives us a wonderful insight into how many British artists imitated their American counterparts. These would include Tommy Steele, Joe Brown, Marty Wilde, Billy Fury, Vince Eager and Georgie Fame. The first of these made it to No 1 in the charts with Singing the Blues, a cover of an Elvis single.

There are also those sections about the politics of the day. Skiffle’s association with the anti-fascist movement and support of pro-immigration is surprising, as is its links to CND.

As a reference to the influence of skiffle on future stars, Bragg gives us a history of Tony Sheridan and his association with The Beatles. He describes Anthony Esmond Sheridan McGinty as “the best rock ‘n roll guitarist of his generation” and refers to Jimmy Page’s comment that he was “the only English guitarist who was any good in the late 50’s”. Sheridan starts off forming a skiffle group called The Saints. His accomplishment on the guitar led him to being in demand as a session and backing musician in London. Just listen to Sheridan’s guitar solo on Vince Taylor and The Playboys Right Behind You Baby.

In June 1960, Sheridan was off to Hamburg with a band The Jets, the first British band to play there. With Sheridan meeting The Beatles, Bragg has some interesting stuff to tell us about the background to this up and coming group. How John Lennon missed National Service by a whisker, unlike his drummer from The Quarrymen Skiffle Group. Otherwise we may never have heard of Ringo, who started playing in the Eddie Clayton Skiffle Group.

Back in Hamburg, “The Beatles backed Sheridan on five or six numbers” when he recorded some tracks for a German record company. These included the iconic My Bonnie from 22^nd June 1961. Just listen to Tony’s guitar, so impressive to Billy Bragg. The single was released in Germany as Tony Sheridan and The Beat Brothers and later in the UK as Tony Sheridan and The Beatles. The first appearance of this band on commercial disc. They also recorded on their own during the same sessions including Ain’t She Sweet, a traditional jazz standard.

There is a marvellous section in the book that describes the influence of Lonnie on The Beatles. According to the author, Paul and George saw him at the Liverpool Empire on 5^th November 1956 and John played out his record of Rock Island Line. The author relates “Lennon began playing his guitar from approximately the last week of 1956” and went on to form The Quarrymen Skiffle Group.

The book closes with a resume of how so many of future British stars started in skiffle groups. Hank Marvin and Bruce Welch played skiffle, Cliff and Tony Meehan also had a skiffle background. The name checks of bands and singers goes on and on. You will have to read the book. Bragg makes this startling discovery: “Of the ten British artists who topped the US charts during that incredible two-year period, only one had no connection with skiffle”. Guess who.

So, the last five pages in the last chapter called “The British are Coming” is a who’s who of the big stars who started in the sixties and even the seventies including, amazingly, the Bee Gees starting life as a skiffle group called The Rattlesnakes. Even Abba?

What I take from this book is that skiffle could have been called anything. It was a mixture of folk, blues, country gospel and bluegrass. But it was a truly British phenomenon, all it needed was three chords, a tea chest bass and a washboard, and that inspired so many youngsters to start a band, a few of the thousands made it big. Very big.

I also found in hindsight, listening Lonnie’s recordings once again (what a treat this has been), how he embraced American rock and roll when his band went electric. The back cover of the book puts you into 1954, when a break in a performance by Ken Colyer’s Jazzmen sees Lonnie swapping his banjo for a guitar and, with a couple of others, sings a Lead Belly song. But for me, it was that week, at the age of eleven or twelve, I spent at my grandmothers when I played and played my uncle’s Rock Island Line. Thank you Lonnie, and thank you Billy.

Strangers on a Train at Aylesbury Waterside Theatre

It comes to something when the set outperforms the acting. It is one of the best pieces of stage design I have ever seen. There is one brief scene where we are transported to that famous Edward Hopper painting Nighthawks, even down to the barman, the couple and the lonely man. This time we see from behind the bar as the two leads invade their space.

But it was such a shame that they were so mediocre in these roles. I'm not a great fan of British actors using American accents but it was more their delivery that I found so irritating. Chris Harper bordered on the maniacal as Charles Bruno and we had to listen hard to hear Jack Ashton as Guy Haines. Now I think about it, the rest of the cast was fine.

The script by Craig Warner seemed clunky, as if he was cut and pasting too much of the book's dialogue. It's not surprising that Hitchcock changed so much of the story, particularly the ending. But I just loved the set!

Strange that I so much more enjoyed the close up intimacy of the live screening two days ago of Lady Windermere's Fan.

Lady Windermere's Fan - Live in Cinemas

Before the performance started, Dominic Dromgoole, the Artistic Director of the Classic Spring Theatre Company (formerly Artistic Director of The Globe) explained how all four Oscar Wilde plays they are putting on, were purposefully designed for the small theatres with a proscenium arch. This production of Lady Windermere's Fan showed how wonderfully intimate they could be. It was so much better than the first in the series, A Woman of No Importance. 

Although first performed in 1892, it has lost none of it's wit. Oscar Wilde's play on words is admirably suited to the upper class characters on stage. The cast all all very good. The diction was outstanding, I heard every word. The live screening was extremely well done and there were compensations for the atmosphere of seeing the play live in the close ups and clarity of speech we could enjoy in our cinema seat.

Newcomer Grace Molony ( an award winner on her debut in Chichester) in the title role of Lady Windermere  just about carried the performance. She was obviously upstaged by Jennifer Saunders as Duchess of Berwick and the outstanding Samantha Spiro as Mrs Erlynne.

 But my guess is that all the credit for this hugely engaging night, should go to director Kathy Burke. It must have been her mischievous and occasional anarchic temperament that gave this production an energy and consistency that meant  it kept up a relentless pace throughout.

In between Acts 3 and 4, there is a change of scenery, and we were then treated to a musical comedy interlude. It reminded me of those that punctuated the brilliant One Man, Two Guvnors. The original song (composed by the director) was sung by Jennifer Saunders (who else) with hilarious accompaniment, particularly from  Victoria Blunt (second left) on percussion. Fabulous.

Roger Deakins

At last. After thirteen previous nominations for the Oscar for cinematography where he didn't win, Roger Deakins (CBE) was presented with his deserved first award for Blade Runner 2049. When I reviewed the film, I particularly mentioned the brilliance of his work.

He has won BAFTA's before (four so far), and I just wonder if his British (Devon) background did him no favours. He still lives there. As The Sunday Times reported:

Shortly after Roger Deakins was awarded the Oscar for best cinematography last Sunday, he received an email from the manager of the marina in his native Torquay, where — as the grandson of a fisherman — he keeps a small boat. “He said: ‘Congratulations on your Oscar and — by the way — the marina’s deep in snow, but your boat’s OK,’” laughs Deakins. “I wrote back: ‘The Oscar’s great but it’s even better to know my boat’s fine.’ I meant it.”

He discovered a passion for photography at art school in Bath. Having failed to get into the National Film and Television 
School, he spent a year photographing Devon life for a local archive, before successfully reapplying.
When you look at the list of his movies, you then understand that his is a wonderful story.

Film Awards 2018

My visit to the cinema today to see Lady Bird meant that I had seen all nine movies nominated for best film at this year's Oscars (nine) and BAFTA (five). Let's start with the winner of the Oscar The Shape of Water. I have to agree with Kevin Maher, film critic of The Times when he describes it as a "Drippy, yet Oscar winning, fish-man fantasy". I would give it one more star than his two, but it would never have made my list for best film. A movie with the best production design does not equal best film and best director. A man dressed up in a costume was fine until he got out of the water! A fantasy romance is so strange; just an an upmarket B-Movie.

But I think I know why it won. Anything to stop Brit Martin McDonagh winning. Even Get Out (a worthy contender) somehow beat Three Billboards for best original screenplay. Come on! At least Three Billboards won the BAFTA for best film and screenplay.

But then for the same film, Frances McDormand deservedly won the Oscar for best actress of those nominated. Well, she is American. All the performances by the nominated actresses and supporting actresses were better than any nominated actor. Gary Oldman should have been glad he was in his own category. Margot Robbie was great in I,Tonya but even better in Goodbye Christopher Robin that was a better film than many on the Oscar list. And so was Breathe, Film Stars Don't Die in Liverpool  (Annette Bening was my favourite for best actress) and The Death of Stalin.

However, one award made up for all the others. Roger Deakins winning his first Oscar for best cinematography after fourteen previous nominations.

Milton Keynes Festival of Running 11th March 2018 - 10K

This was the fourth time I have run the 10K at the Milton Keynes Festival of Running. It wasn't my fastest time but it could have been. For some reason I only arrived at the start ten minutes before race time. I could have made my way closer to the front, except I met Lynne, a friend from our village. So I had a nice chat with her and her husband who wasn't running.

So when we started, we must have near the back of the 1300 runners. This meant I had a very slow first mile (9.35 pace) where I lost a minute trying to pass the slower runners. And then a (probably) too fast next two miles (8.30 pace) trying to make up time. The first four miles are overall slightly downhill so I needed to be ahead of schedule before the uphill section.

All I know is that at 8K my legs and heart rate were telling me no more fast stuff. In the end I finished in 56 minutes 48 seconds (9.08 pace), my second fastest of the four, my fastest being four years ago. If not for that slow start, I may have made it a PB under 56 minutes. But I would much rather have stopped to talk to Lynne.

When the results arrived, I actually found I was first (out of five) in my 70+ age group, so I was very pleased with that. And 432 out of 1321 finishers, so within the top third. (All the above just for future reference).

It was great that Alison came to support me, seeing people from her club running and supporting, Lynne before and after the race and the nice couple we talked to in Patisserie Valerie where we went for lunch.

I,Tonya, Red Sparrow and Game Night

If I had to pick one word to describe I,Tonya, it would be anarchic. This is a very dark comedy, the laughs are more out of nervousness than anything else. The acting is first rate. I loved Margot Robbie in Goodbye Christopher Robin and here, as Tonya Harding, she is unrecognisable from her character in that earlier film. Of course Allison Janney deserved her Oscar for her performance as Tonya's horrible mother. Craig Gillespie's direction is smart and the script by Steven Rogers is very clever. All in all, a bit of a shattering experience.

Jennifer Lawrence carries this glossy spy thriller with conviction, if not style. It seems to be a vehicle for her attractive talents, but we never get past this is Jennifer Lawrence we are watching, not the character. She is hardly ever off the screen. There is also the distraction of the Russian accents, some good some really bad. The story is OK but the screenplay is clunky and the rest of the cast seem to be going through the motions. It's Jennifer's movie, so we needn't bother to try. Francis Lawrence has ramped up the violence, I just wonder what they cut to make it a 15 release.

An entertaining comedy thriller with a sharp script, Rachel McAdams and husband Jason Bateman (Annie and Max) host the game night from hell. Well, they would have, except Max's brother hijacks their regular competition with friends and stages something at his own house that we never know is real or not. The action is consistently crazy and there is much hilarity throughout. Directors  Jonathan Goldstein and John Francis Daly are well up to the task and the screenplay by Mark Perez is a treat. He cleverly interweaves the sometimes strained relationships between the couples with the plot. I laughed a lot.

Out of this World, Manhattan Beach and Eleanor Oliphant is Completely Fine

A horrific tragedy permeates the whole of this story; it even somehow effects the lives of the main characters prior to the event. Harry and his estranged daughter Sophie take turns in telling their version in alternating short chapters. This works fine. Sophie, in particular, suffers from what we gather is second hand ptsd, but is she using this an excuse? Time will tell.

Late on there is one chapter from Joe, Sophie's husband. This is definitely worth waiting for, like a brilliant short story in itself. In it he describes an event from his youth, when his scout troop put on a Christmas party. He had to go out the front and speak a monologue with corny jokes written by the scout-master. Instead of being the disaster he imagined, the audience actually laugh and Joe is in his element. I include this because I had a similar experience. Playing Major Petcoff in the school play "Arms and the Man", I hadn't realised until the first night that my big speech was so funny. It is extraordinary when you get such a reaction from the audience.

Back to the novel. Thank goodness that Sophie's last chapter has some hope for the future. Just a shame this was let down by Harry's final meditation on the past. 

I loved the first two thirds of this book, and if the author had then tied things up quickly, it would have been great. Instead we get an awkward and clunky last third which, for obvious reasons of spoilers, I cannot describe. To begin with, our investment spending time with various characters begins to pay off. There is wit and some great dialogue. At a funeral, Anna's maiden aunt Brianne (I wanted more of this character) had "filched (some napkins) from a bar called "The Dizzy Swain" and "each napkin was emblazoned by a cartoon shepherd". But then there are so many things wrong with the last part of the novel. If only Egan's editor had been able to convince her to see those problems that spoilt what would have been such a great story. 

She may tell people she is fine, but the truth is very different. Eleanor is one of the most complicated characters I have read for many years. She is bright and highly educated but without any social skills, all due to her past. She has little time for other people but would be horrified if she knew what they thought of her. She mentions "Jane Eyre; strange child, difficult to love". She doesn't know that could be a description of herself.

There are shattering glimpses of what happened to her as a child, a back story that is brilliantly constructed and revealed only in bits and pieces. The author has the most wonderful turn of phrase, some of the dialogue is extremely funny. There are times, after I had put the book down, that I would again burst into laughter. Maybe there is too much advertising for Glen's Vodka (Scottish of course), Tesco and Magners. So the book is not perfect. How can a small modern house have space for "several cars on the drive". And there is a "stuff the reader" twist at the end. But it didn't spoil what is a hugely emotional story. Everyone should read this book, basically because it is so good. I read late into the night, something I haven't done for ages.

"the making of a story" A Norton Guide to Creative Writing

I bought this book a couple of years ago. I guess it was the 677 pages that put me off. However, having completed my last project, I was looking what to do next, and Alice LaPlante's intimidating volume was there, staring at me from the bookshelves.

It has wonderful reviews, and not too many exercises, thank goodness. So I dived in, created a Word document and started. So far I have completed the two exercises for Chapter 1. Only thirteen chapters left to go. Will I get distracted or will I persevere. Watch this space.

Hedda Gabler at Milton Keynes Theatre

Was it exactly a year ago I went to see the same production live in cinemas? I had thought that watching a repeat in the theatre might be too much, but if I don't support classic touring plays, who will. The new cast were fine, Lizzy Watts as Hedda was not quite up to the class of Ruth Wilson, but who would be? I was impressed by how the design used the whole of the huge stage. Again, it was the same as the London show; but in the theatre, we gained the whole effect that we missed in the cinema. The point when Hedda throws all the flowers across the stage had much more impact.

The size of the audience was disappointing, even for a matinee. I knew that it was only booked to be half full, but the snowy weather had kept half of those away. My journey to Milton Keynes was fine, the roads had been gritted and were empty. Coming home was a different story. Another layer of snow had fallen during the afternoon and the rush hour out of Milton Keynes meant we crawled from roundabout to roundabout; 40 minutes to do the first mile when that is the normal time to get home. More slow traffic on the A5 then a standstill in Wing while buses and lorries encountered the only hill. So over two and half hours to get home.