Van Gogh At Last!

In a recent post dealing with school drama productions I’d been involved in while teaching in Stevenage, I made passing reference to an earlier piece about the life of Vincent Van Gogh from my time at Harrow Way County Secondary School in Andover. Like the Stevenage work, this was a co-operative effort involving as many students and staff as possible, although, as the production evolved, one student in particular, Stephen Lewis, had a fuller involvement as actor, writer and composer. As was the case with Van Gogh himself, no matter the circumstances, you can’t keep good man down!

Knowing a little of Steve’s later involvement with drama, I thought it would be interesting to ask him for his memories of the production and its significance. This is what he wrote …

Drama was my favourite subject at Harrow Way School and thanks to our enthusiastic and inventive teacher, John Harvey, it became a core part of my life. For the first twenty-five years of my career, I was involved in drama teaching, culminating in running the MA in Drama in Education course at what is now Birmingham City University. The strongest memory I have of the work John did at Harrow Way was the collaborative nature of it and the way that it engaged pupils and staff from right across the school.

As a 14 year old I was cast as Vincent in a show called At Last the Vincent van Gogh Show. The “At Last” was added because opening night was delayed owing to an industrial dispute and teachers having to work to rule; this meant that out of school hours rehearsals were postponed for a term. Because John wanted to involve as many pupils as possible, the only way of getting the whole cast together was after school and at the weekends. This was probably why I had a go at writing some of the script and enjoyed researching the life of Van Gogh in such detail.

The set for the show consisted of two 16 x 8 feet screens made by the woodwork department that were fixed at the front stage-right half of the traditional school platform stage and used to back-project images of Van Gogh’s paintings put together by the art department. The performance took place in front of the screens on the hall floor and a raised, tiered area built out from the stage-left half of the stage. This early practice of getting as much of a performance off the stage and thrust out into the audience space must have had a real impact on me, since very few of the hundred or so productions I directed subsequently were set on a proscenium arch with curtains.

I am sure that my attempt at scripting the show was very conventional and limited by an experience of plays that did not extend beyond what we had studied at school or I had seen on television. John had an overall concept for the show that included dance-drama numbers so that more people could be involved beyond the smaller group of characters surrounding Van Gogh’s life. Looking back, I can see now that this was a creative device to make scenes where Van Gogh was painting at his easel more theatrical and of interest to the audience. 

While Van Gogh was painting sunflowers, for example, George Harrison’s Here Comes the Sun was playing and a group of dancers performed around the artist at work in one of his more happier moments. In contrast to this I remember the scene in the cornfield where I was surrounded by staccato-moving dancers dressed all in black enacting the movement of crows to the music of Mussorgsky’s Night on a Bare Mountain. It was an expressive way of representing Van Gogh’s deep-seated depression and made the moment where he shoots himself in the groin seem more plausible. There was also a dance to a piece called Urizen from a jazz album by David Axelrod which is a fusion of orchestral sound and rock band. It has these rising glissandi on strings and listening to it again after all these years I can visualise the dancers rising up dressed in yellow and swirling ribbons of fabric around me. 

John has written about the infamous ear-cutting scene which was portrayed by my holding up a 2 x 1 foot piece of ear-shaped polystyrene to the side of my head. I had to cut across the top of the polystyrene with a handsaw and I can still recall the squeaking sound it made as I sawed a lump of it away. The fragment of polystyrene ear fell to the floor and then a character dressed as a policeman walked up to me, picked it up and said to the audience, “’ello, ‘ello, ‘ello: what’s this ‘ear then?”. It got a laugh every night.

The fact that I can still recall this so vividly fifty years later shows what a lasting impression this production made on me. That the structure of the show was an example of Total Theatre or that using an oversized prop and a music hall gag at a serious moment was a Brechtian technique were unknowns to me at the time. But thank you Mr Harvey for creating the circumstances and providing the experience that helped me find my element in life

Stevenage Days, Stevenage Plays

Circumstances have got me thinking again about the years I spent teaching in Stevenage – four years in the English Department at Stevenage Girls’ School, 1971 – 75; the same four years that I was studying, part time, for a BA in English at Hatfield Polytechnic, now the University of Hertfordshire. A course of study made easier by the generosity of Hertfordshire County Council, who allowed me one afternoon off a week, with pay, to attend lectures, together with four weeks – four whole weeks – off to revise for my finals. Outstanding.

Stevenage Town Centre

Stevenage was the first of the New Towns to arrive in the wake of the Second World War, a brutalist cousin of two nearby towns that were products of the earlier Garden City movement – Welwyn to the south and Letchworth to the north. Up until 1969, there were two grammar schools, the long-established Alleyne’s School for boys in Stevenage Old Town, and the rather peripatetic Stevenage Girls’ Grammar School, which dropped the word ‘grammar’ from its title when it arrived at new buildings on Valley Way in 1968, in readiness for joining the comprehensive revolution.

It was my experience teaching young people in secondary modern schools – those who, in pre-comprehensive days, would have taken and failed their 11 Plus – that made me an attractive proposition for the head teacher, Miss Osborne – though to what extent Mrs Crewe, the Head of English, agreed, I was never certain. And it wasn’t just English I was teaching; I was also teaching drama. Lots of small group improvisation, probably rather too much wafting around to the likes of Britten’s Sea Interludes – and, on a couple of occasions, a full-scale production. The school play.

In my earlier post at Harrow Way County Secondary School in Andover I’d warmed up with an abridged version of Shaw’s St. Joan [called, of course, St. Jo – what else?] followed by the (almost) all-dancing, all singing At Last, The Vincent Van Gogh Show! – the highpoint of which was the actor playing Van Gogh coming out wearing a huge polystyrene ear and proceeding, slowly, and squeakily, to saw it off with a fretsaw. Well, it was the 60s! And something I might well return to in more detail in a later blog – but for now, back to Stevenage.

At the Girls’ School, the first production was Alice, based, of course, on Lewis Carroll’s Alice in Wonderland and very much under the influence of the Jefferson Airplane song, White Rabbit.

One pill makes you larger and one pill makes you small, and the ones that mother gives you don’t do anything at all, go ask Alice, when she’s ten feet tall.

You can imagine the scene: Alice, red hair, blue dress, and the first of several white pills and, pretty soon, the first sighting of the white rabbit itself.

Half-buried amongst a pile of miscellaneous papers, I found a copy of the programme …

It’s noticeable how strictly I was sticking to the protocols laid down by the Drama Department at Goldsmiths, where I’d done my teacher training, and followed through by my great friend and mentor, Tom Wild, whose productions of Brecht and Shakespeare with ‘secondary modern kids’ in Yorkshire were an inspiration. So, rule one, involve as many of the school as you can, and two, list them all equally and alphabetically . Everyone counts.

Having suggested ideas of madness in Alice – see the Cheshire Cat’s riposte to Alice above – the following year’s production, Split, was based on a case-study of a girl suffering from schizophrenia that was written about in R. D. Laing’s The Divided Self. [The 60s continued to loom large.]

The majority of the scenes were built up through improvisation during many rehearsals, improvisation that continued in performance, save for opening and closing lines, which acted as cues for the people doing music and lighting.

It was a recent exchange of emails with Moya Cove, one of the musicians listed above, that got me harking back to Stevenage days – and plays – and I was very interested to read Moya’s thoughts about growing up and going to school in Stevenage – thoughts she is happy for me to share …

The more I look back and think about it the more I realise what a unique ‘brave new world’ social and economic project we were all involved in. Personally, I feel we had the very best of Stevenage new town in those forward looking post-war days before the shine wore off. And it was successful – for an all too brief moment in time – in facilitating real social mobility, along with optimism, hope and a feeling for social justice. As a group of girls I would say we all came out of Stevenage -in those days of rising feminism – and were utterly determined to have careers and be economically independent. Our generation were incredibly fortunate to experience Stevenage at that time. 

For proof of what Moya says about social mobility, a feeling for social justice, and the rise of feminism amongst Stevenage’s young women, I would point to the life of Sherma Batson (whose name appears in the Alice programme).

A community activist with a wide variety of interests, Sherma was one of the founders of the Stevenage World Forum for Ethnic Communities, and largely responsible for setting up Celebrate!!!, a multi-cultural showcase held annually at the Gordon Craig Theatre during Black History Month. A stalwart member of the Labour Party, Sherma was elected to Hertfordshire County Council in 2001 and in 2008 she was made an MBE for services to the county. In 2014/15, she was elected by the Stevenage Borough Council to be Mayor of Stevenage, the first black woman to hold that role. All too sadly, with so much more work to do, so much more life to live, Sherma died suddenly in January 2017, following a subarachnoid haemorrhage, at the age of only 59. In February of that year, Stevenage Borough Council posthumously conferred on Sherma the title of Honorary Freeman.

Sherma Batson

Looking for Charlie Resnick: Slow Burn

Some nights, Resnick thought, you knew sleep wasn’t destined to come; or that, if it did, it would be haunted by dreams pitched just this side of nightmare, broken by the startled cry of the telephone heralding some new disaster, awful and mundane. So there he was, at close to two a. m., ferrying through the sparsely filled refrigerator for the makings of a snack, during cold milk – yes,milk – into a glass, opening the back door so that Pepper could join Dizzy in a little night-time prowling, hunting down whatever was slower or slower-witted than themselves. Miles and Bud were upstairs on his bed, missing, perhaps, his bulk and warmth while relishing  the extra space.

Carrying his sandwich through into the front room, he pulled an album from the shelf and slipped the record from its tattered sleeve. The Thelonious Monk Trio on Prestige. Through the smeared glass of the front bay, he could see the outlines of houses left and right along the curve of street, roofs bulked against a city sky that was never truly dark. Faint, the hum of occasional cars, one block  away on the Woodborough Road. Monk’s fingers, flat, percussive, treading their way through ‘Bemesha Swing’ like an overgrown child lurching along the pavement, crack by crack. It was no surprise when the phone finally rang, nor that the voice at the other end was his sergeant’s, weary and resigned.

That deep into the early hours it was no more than a five minute drive to the old Lace Market, the corner of Stoney Street and King’s Place and the Victorian conversion that for years had housed Jimmy Nolan’s jazz club and bar. Acrid and pungent, the scent of burning struck Resnick as he climbed out of the car. Smoke eddied on the air. Fire officers, purposeful yet unhurried, damped down smouldering wreckage; making safe. Resnick knew they would already have isolated, as far as possible, the area where the fire began. The building itself was little more than a blackened shell.

Four cats still rather than just the one; vinyl albums instead of CDs, back before vinyl was the trendy thing: Resnick in 1999. A while ago.

‘Slow Burn’, the short story of which this is the beginning, actually began life a year earlier, as a 60 minute radio script written for BBC 4 producer, David Hunter, which was originally broadcast in 1998 and has been repeated on several occasions, most recently  this week on Radio 4 Extra. You can still catch it on the BBC Radio iPlayer, where it’s available, from today, for another 27 days.

David Hunter was the producer who marshalled my dramatisations of two Resnick novels onto the airwaves, Wasted Years in 1995 and Cutting Edge in 1996, each in several parts. Slow Burn followed these in 1998 and my original radio script became a short story, which was first published a year later in the collection, Now’s the Time, by my own small press, Slow Dancer, that collection being reprinted, in an enlarged edition, by William Heinemann in 2002 and in 2013 the Arrow paperback below.

now_s the time

There has only been one representation of Resnick on screen [so far – hope springs eternal et cetera] that by Tom Wilkinson in two television adaptations – Lonely Hearts & Rough Treatment, produced by Colin Rogers for Deco Films and TV and the BBC, and shown in 1992 and 1993 respectively. Tom reprised the role in the first of the radio versions mentioned above [Wasted Years in ’95], after which Hollywood beckoned and Resnick was personified first by Tom Georgson in Cutting Edge, then Philip Jackson in Slow Burn, and, finally, Keith Barron, in two other dramatised short stories, Cheryl (2001) and Bird of Paradise (2002).

Keith Barron, who sadly died just yesterday, November 15th, was the reader of two abridged versions of the novels Cold Light and Living  Proof, released by Reed Audio in 1995, and Philip Jackson the reader in the excellent ten-part version of Wasted Years, adroitly abridged and directed by Gordon House for BBC Radio 4 and since repeated on a number of occasions.

Most recently, Resnick was brought to the stage by David Fleeshman in the Nottingham Playhouse/New Perspectives production of Darkness, Darkness, directed by Jack McNamara. That’s David, outside the Playhouse, immediately below, and, with Simone Saunders as Catherine Njoroge, in a scene from the play.

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And here’s Tom Wilkinson in Resnick guise, first in a BBC publicity shot and below on the jacket of the French edition of Lonely Hearts, Coeurs Solitaires.

Tom W 2

 

Tom W

Remembering Tony Burns: Blues in Time

One of the ideas informing my dramatisation of the Resnick novel Darkness, Darkness for Nottingham Playhouse was that while we ourselves are alive, the dead – the dead that we know – never quite die. The plot is set in motion by the discovery of the body of a young woman who disappeared during the Miners’ Strike, some thirty years before; what the story then does is revisit the significant moments in that young woman’s – Jenny’s – life, showing them in juxtaposition to the present. To Resnick, who knew her only slightly and is now investigating the circumstances of her death, she was little more than the memory of a bright, lively and outspoken young woman, a firebrand, and during the course of the play he gets to know her more clearly, more roundly, so that, in the scene towards the end [possibly my favourite scene of all], when she visits him in his house where he is getting dressed ready to go to her funeral, it is – bar a quick and instant frisson – no real surprise. She talks to him and he answers, much as he would if she were still alive, much as we hold conversations (inside our heads, more usually, rather than out loud) with those we knew and maybe loved long after they are gone. Much as Resnick, in the play, holds sometimes grudging conversations with the strike leader whose funeral he has attended just before the action opens and who, like a somewhat guilty conscience, comes to haunt him – haunt, the word is correct here, I think – as the play progresses.

That I’ve been thinking about this at all was not sparked directly by the Playhouse/New Perspectives production of Darkness, Darkness [though it does tend to haunt me, both by what was and, perhaps even more strongly, what later might have been] but by the gift of a CD, a remastering of a session by the Gerry Mulligan/Paul Desmond, originally recorded and released in 1957 and sometimes titled simply Quartet, sometimes Blues in Time.

Mulligan 2

Listening to it now I am back in the home of my friend Tony Burns, the back bedroom of a house in Finchley, north London, both of us in our late teens; Tony is learning the saxophone – the alto, initially – and I am, less methodically, less seriously, learning to play the drums. Desmond, who plays alto, most usually in the Dave Brubeck Quartet, is probably Tony’s favourite player at this time, though he likes Mulligan too, and, like Mulligan, will play baritone – only finally settling for tenor some good few years later.

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Tony Burns

By profession a tailor, Tony continued to play jazz semi-professionally, only stopping a relatively short time before his death in 2013. By some quirk of circumstance, I was lucky enough, using a borrowed set of drums – my daughter’s – to play with him on a number of occasions in those later years, evening sessions in a pub near the Archway, each one for me a joy. Tony had a way of making you sound better than you really were.

Here, in the final section of a longer poem from Out of Silence called Winter Notebook, are the lines I wrote shortly after Tony died …

My friend, Tony, with whom I first listened,
really listened to jazz, the two of us practising
in his parents’ bedroom, he on saxophone,
me drums, rustling brushes in four-four time
across the top of an old suitcase –
my friend Tony is in a hospice:
the volunteers at the desk welcoming and polite,
all chemo stopped, the carpet deep, the furnishings
not too bright; visiting, we keep our voices low,
talk around you, and just when we think
you’ve drifted off to sleep, you rebuke us
for some mistaken reference to a recording
you know well, Brubeck, perhaps, Mulligan or Getz;
and when Jim retells a joke you first told him
many years before – its punchline too crude
to be repeated here – how marvellous to see
you throw your head back and laugh out loud.

For now I sit alone with you and watch you sleep,
breath like brittle plastic breaking inside your chest,
and, for a moment, without feeling I have the right,
reach out and hold your hand.

One day soon I will push through the doors,
present myself at the desk, only to hear the news
we know must come. It happens, no matter
what expectations we have, fulfilled or not.
And not dramatically, like some monster
rising from the marsh to seize us, drag us down,
but deftly, quietly, like someone switching out the light.

There … you’re gone.

… but not forgotten.

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Tony with, to his right, our friend Jim Galvin

 

Resnick on Radio, Stage & TV

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David Fleeshman as Charlie Resnick & Simone Saunders as Catherine Njoroge in the Nottingham Playhouse/New Perspectives production of “Darkness, Darkness”

DARKNESS, DARKNESS
Act 2, Scene 15

CREMATORIUM. FADE DOWN ORGAN MUSIC AS RESNICK WALKS AWAY FROM THE CHAPEL INTO THE GARDEN, CATHERINE, PATCH OVER ONE EYE, COMING TO JOIN HIM.

CATHERINE: God, Charlie! I hate funerals. Hate them more and more.

RESNICK: You’ll come to mine, all the same?

CATHERINE: You, Charlie? You’ll be here forever.

RESNICK: I doubt that.

THEY WALK ON.

I don’t know about forever, but the old boy does keeping popping up, this week especially.

First there was the realisation [they never let you know in advance!] that my three-part dramatisation for radio of the third Resnick novel, Cutting Edge, was being repeated on BBC Radio 4 Extra.

Print

Originally broadcast on Radio 4 in 1996, Cutting Edge features Tom Georgeson as Resnick. Tom Wilkinson had played him on radio the preceding year, in my adaptation of Wasted Years, which, like Cutting Edge and, in fact, all of the radio Resnicks, was produced and directed by  David Hunter. In doing so, Wilkinson, of course, was reprising the role he’d earlier played on television, in the versions of the first two novels in the series, Lonely Hearts and Rough Treatment, both produced by Colin Rogers for Deco Films & Television and the BBC.

resnick-r-treatment

Come the time to record Cutting Edge, he was otherwise engaged, so Georgeson, who had appeared on the other side of the law as a burglar in Rough Treatment, stepped into the Inspector’s shoes, bringing the residue of a Scouse lilt with him as he did so.

Resnick’s most recent incarnation, in the stage version of Darkness, Darkness directed by Jack McNamara for Nottingham Playhouse and New Perspectives, saw him being tellingly brought to life by David Fleeshman.

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David Fleeshman getting in some Resnick Research in Nottingham

Now, Claudia Ferlisi of New Perspectives has assembled an absorbing “storify”, in which the history of the production is traced through a selection of photographs, video, blog extracts, tweets and so on. You can – and should – look at it here …

Delving further back, Colin Rogers  alerted me to a review on the Letterboxd site of the 1992 television adaptation of Lonely Hearts, starring, as has been said, Tom Wilkinson, and directed by Bruce MacDonald. Quite why the review, by Mark C., has appeared now, when no official DVD of the programme is available, I’m not sure. A DVD was advertised as forthcoming on Amazon.com some time ago, but since then there has been no news as to when – indeed, if – it might actually become available. What’s holding things up, I have no idea. Nor do I know which copy Mark is reviewing … but what he has to say, is, I thought, really interesting. Here’s a sample …

It helps of course that the author himself, John Harvey, adapted the novels for TV. But crucially the director of Lonely Hearts, Bruce MacDonald, understands the material beautifully and gives us something unique that still stands out as a distinctive piece of drama some twenty-four years later. Crucially MacDonald’s style, combined with his knowledge and understanding of Harvey occasionally somewhat fragmentary writing style, works in close harmony to deliver an deeply atmospheric piece. Like the jazz beloved of our central character, Harvey’s writing often strays from the narrative through line to provide quirky and unusual flourishes or glimpses of other themes. This is best exemplified in the way that we see the team at Nottingham CID (which includes a youngish David Neilsen before he headed to the cobbles of Coronation Street, looking rather different with short hair and a military moustache, and actor/writer William Ivory as a scene-stealing leery, neanderthal cop who despite his blunt methods gets the job done in a way we cannot help but admire) involve themselves in other secondary cases or how we catch references to their home lives. All of these instances help lend a sense of multi-dimensionality and authenticity to the proceedings.

You can read the review in its entirety here …

Darkness, Darkness Soundtrack

Anyone who saw the recent production of Darkness, Darkness at Nottingham Playhouse will have been aware of the importance of music and sound in the creation of mood and the reinforcement of meaning. The soundscape – incorporating, in addition to  everything from police sirens and gun shots to the chants of Notts County supporters and striking miners, no less than 23 pieces of music – was created by sound designer, Drew Baumohl, working closely with other members of the design team, including filmmaker and video artist, Will Simpson, who was responsible for the projection design.

The initial idea of using the noirish slowcore music of the German band, Bohren & Der Club of Gore and the ambient post rock of the Canadian Godspeed You! Black Emperor to provide the atmospheric interludes and backgrounds, came from the show’s director, Jack McNamara, while the more obviously jazzy selections were mine. I think they work well together.

Here, for anyone wishing to follow up, is a listing of the music used …

Bohren & Der Club of Gore

  • Midnight Black Earth
  • Vigilante Crusader
  • The Art of Coffins
  • Grave Wisdom
  • Maximum Black
  • Skeletal Remains: all from the album, Black Earth
  • Cairo Keller: from Gore Motel
  • Im Raunch
  • Fahr Zur Hollie : from Piano Nights
  • Staub: from Dolores

Godspeed You! Black Emperor

  • Moya: from Slow Riot for New Zero Kanada
  • Asunder, Sweet: from Asunder, Sweet & Other Distress

Thelonious Monk

  •  (I Don’t Stand) A Ghost of a Chance With You: from Thelonious Himself (1957)
  • These Foolish Things: from Thelonious Monk Trio (1954)

Billie Holiday

  • These Foolish Things: from The Quintessential Billie Holiday, Vol 2 (1936)
  • For All We Know: from Lady in Satin (1958)

Joe Temperley

  • I Let a Song Go Out of My Heart: from Easy to Remember (2001)

Coleman Hawkins

  • One Note Samba: from Desafinado (1963)

Pablo Casals

  • Suite No. 1 in G Major, Prelude
  • Suite No. 1 in G Major, Allemande: from Bach Cello Suites (1939)

Cyprien Katsaris

  • Waltz No. 10 in B minor, Op. 69. No. 2: from Chopin-Waltzes

Human League

  • Together in Dreams

Frankie Goes to Hollywood

  • Two Tribes

 

 

 

Darkness, Darkness in Review

So, one week in and one to go, and personal comments, tweets, emails and audience reaction aside, there have been reviews a-plenty, ranging from a miserly two stars out of a possible five in The Times to a resounding thumbs up The British Theatre Guide – “one of the best pieces of theatre I have seen in years.” The truth, to my mind veering strongly towards the latter, lies somewhere between the two.

The reviewer for The Times, opts to judge the play primarily as a police procedural and as such finds “little to distinguish it from any number of mediocre TV cop shows”, and although she recognises that other elements exist – the Miners’ Strike, issues around gender and social inequality – chooses not to allow these the significance I believe the play accords them. As anyone who’s read my novels, or, indeed, seen this production, might attest, the nuts and bolts of the plot – the who did what to whom – are not what interest me most. [Perhaps I should have taken up another line of employment.] I want the mechanics of plot to work, surely, but what I’m more interested in is the why – motivation and characterisation – and, perhaps just as importantly, what the telling of the story allows me to say about the society and values of the world in which its taking place. So it is exactly the Miners’ Strike and its legacy that I’m interested in here, as well as, yes, gender and social inequality, and, running through everything, the persistence of memory. And if those elements don’t come through for the majority of the audience more strongly than they did for The Times then, as a writer, I’ve failed.

What clearly hasn’t failed – even for The Times – is the production itself …

The good news is that Jack McNamara’s production, for Nottingham Playhouse and New Perspectives, is supremely stylish.

Ruth Sutcliffe’s design of gliding black panels and Azusa Ono’s arresting lighting conjure up a murky unease as the plot stops across decades. Figures lurk in shadows or in the sickly yellow glow of streetlights, jazz music curls like smoke around scenes of tense domesticity or police interrogation. Monochrome video imagery flickers – fingerprints, X-ray images, miners on the picket line hemmed in by battalions of uniforms.

Sounds good to me.

And what doesn’t fail – even at those moments – a few, but they’re there – when the script falters – are the actors, whose work has been universally praised and who can, night after night,  even knowing the piece as well as I do, make the back of my neck tingle, my heart beat faster, reduce me to tears.

You have to be a subscriber to read The Times review on line, but for anyone wanting to track it down it was in the Friday, 7th October issue. Links to other reviews follow.

I was grateful, of course, for Steve Orme’s wholehearted response in The British Theatre Guide and particularly enjoyed reading the piece by Emma Pallen in Impact, the University of Nottingham’s Official Student Magazine. And I was especially delighted – nay, thrilled – to have the play’s authenticity attested to in the Traffic Light Theatregoer blog by Francis Beckett, who, together with David Heneke, wrote a history of the Miners’ Strike, Marching to the Fault Line, published by Constable.

http://www.britishtheatreguide.info/reviews/darkness-darkn-nottingham-play-13546

https://www.thestage.co.uk/reviews/2016/darkness-darkness-review-at-nottingham-playhouse/

http://www.thereviewshub.com/darkness-darkness-nottingham-playhouse/

http://exeuntmagazine.com/reviews/review-darkness-darkness-nottingham-playhouse/

http://www.nottinghampost.com/murder-and-miners-darkness-darkness-at-nottingham-playhouse/story-29779840-detail/story.html?gvc

http://trafficlighttheatregoer.blogspot.co.uk/

Darkness, Darkness in Production

The Nottingham Playhouse/New Perspectives production of Darkness, Darkness, directed by Jack McNamara, began its two week run at the Playhouse on Friday, 30th September. The set was designed by Ruth Sutcliffe; the lighting designer was Azusa Ono, sound designer, Drew Baumohl and projection designer, William Simpson. The final performance will be on Saturday, 15th October. All production photographs © Robert Day.

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The body of Jenny Hardwick, who disappeared during the Miners’ Strike, is unearthed after 30 years.

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David Fleeshman as D.I.Resnick & Simone Saunders as D.I.Catherine Njoroge, both very much on the case

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Elizabeth Twells as firebrand supporter of the striking miners, Jenny Hardwick

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John Askew as striking miner, Danny Ireland

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Chris Donnelly, as Jenny’s former husband, Barry, facing up to some probing questions

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The older Danny under interrogation

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Martin Miller as retired P.C.Keith Haines & Emma Thornett as his wife, Jill

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Catherine enjoys a reunion with her former boy friend, Adam, played by Jonathan Woolf – or does she?

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Resnick and a fellow Notts County supporter at Meadow Lane