Resnick on Radio, Stage & TV

600x600-3-fit-jpgt

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.

DSC_0159JPG

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 …

Advertisements

Georgie Fame at the Flamingo

The first time I laid eyes on Georgie Fame would have been at an all-nighter at the Flamingo, somewhere around 1962 or 63. Georgie, already renamed by agent Larry Parnes and no longer Clive Powell, leading a band called the Blue Flames, the nucleus of which had been Billy Fury’s backing band, and was now playing a potent blend of blues and jazz with ska overtones, the overall sound, with Georgie on Hammond organ, owing a lot to Jimmy Smith and Booker T and the M.G.s, his vocals suggested he’d been listening to not a little Mose Allison.

They were great evenings, great nights, dancing up a sweat or just standing around on the side lines, trying to look cool – or, as we used to call it, hip. And there was always the frisson stemming from the rumour  that the place was frequented by gangsters and other dangerous types from the Soho demi-monde – a rumour substantiated when Johnny Edgecombe and Aloysius Gordon fought there over the affections of Christine Keeler and gave traction to what became known as the Profumo Affair.

georgie_w_cig_new

Now the BBC [God bless them and the licence] have revisited the first Georgie Fame and The Blue Flames album, Rhythm and Blues At The Flamingo, recorded in September 1963, for its Mastertape series, resulting in two hours of material, music and memory, which will be broadcast in December.

Rhythm_and_Blues_At_the_Flamingo

For more details of this, take a look at this post on Richard Williams excellent music blog, The Blue Moment, here …

 

 

Music for Not Writing

What do you listen to, people ask, when you’re writing? And the answer, boringly, is nothing. Nothing at all. The rhythm I’m trying to hear is the one inside my head: the words, their sound, repetition, rise and fall. Stop there before I talk myself into Psueds’ Corner.

But when I’m not writing, there’s almost always music playing somewhere. The iPod in the kitchen, for instance, with several thousand tracks on shuffle, anything from Berg’s Three Pieces for Orchestra to Eel’s Blinking Lights & Other Revelations. Radio Swiss Classic is fairly constantly playing over the internet in the library when I’m reading (or napping) – 24 hour music with no adverts and only the briefest of announcements (in German, which I don’t speak, so only the occasional word intrudes – “Mozart”, say, or “Hadyn”). When I’m out walking on or around the Heath, more often than not I’m listening to something through headphones, either a BBC Radio Podcast or something new that I’ve downloaded –right now, Girlboy’s cheeky little single, Jennifer Lawrence.

Most of the above is incidental: each month or so there tends to be a small group of CDs that I sit down and listen to more carefully – Music for More Carfeful Listening. This month there are four …

R-6317784-1416328212-5897.jpeg

 

  • John Tilbury & Philip Thomas: Two Pianos & Other Pieces by Morton Feldman
  • Louis Armstrong at The Crescendo 1955, Complete Edition
  • Jan Lundgren: All By Myself
  • Thelonious Monk: The Complete 1961 Amsterdam Concert

140690