The Next Big One

I think we were all kind of expecting someone else to go. I’ve found myself internally semi-squinting, waiting for ‘the next big one’ – the next person to go who would prompt national outpourings of distress. As my eyes trawl across some digi-obit or other I’ve muttered little mortality mantras – “Not Tom Hanks, Not David Attenborough, Not Judi Dench, Not Dolly Parton.” – ticking off names of people I love like prayer beads. This year feels steeped in the energy of portent, we might as well see the rest of it out without expecting some sort of cosmic kindness to kick in now.

I’ve had numerous conversations with friends about who we’d hate to hear had died. We compiled depressing little lists of awesome people whom it would be a great shame to lose. But of course the worst losses are those people who die ‘too young’. The people who don’t make it past an age of general acceptability, which gets a little older every year such is our insistence for living longer.

We were wrapping up our Christmas night, drowsy from our day of food and booze, when I saw that George Michael had died. 53. No age at all. I was staying at my mum’s so I ran up to her bedroom and shared the horrible news with her and my step-dad. That’s a nice way to thank them for a lovely day isn’t it; being the bedtime bearer of bad news. We chatted for a couple of minutes and then I went back downstairs and sat for a bit. It felt sort of apt hearing the news while I was with mum. We listened to George’s beautiful album Listen Without Prejudice over and over again together when it came out.

As I got ready for bed I tried to block out the horrible inevitable thought that one of the great Christmas songs, Last Christmas, was forever going to be tinged with a horribly apt sadness. George had just had his last Christmas. I’m sure we all were thinking similar. I’m sure a lot of people made the bad jokes too soon as well. Some people can’t resist thinking they’re some sort of great wit when actually they’re just a great twit and should stay quiet and resist the dreary puns gushing around their brains like sloppy shit.

It’s sad to lose people at Christmas.

But of course it’s just an ordinary day for the human body. A weak heart or a tumour or a blood clot won’t wait for the new year out of obligation to festive family feasts and our urge for sloth-like contentedness. Death waits for no one. It doesn’t just stand in the corner looking for the nod. There is no respectful time for our bodies to sever themselves from us, and that is what it is, a sort of parting of ways – our mind and our body. One day the body says “No, this is not how it’s going to work anymore, and for all your wonderful strength, dear Mind, you are powerless. I’m in charge now.”

Perhaps some of us feel these Christmas losses deeper because there is usually a strange sense of all normal business coming to a standstill for a day. When someone dies on or around Christmas, we feel betrayed, like security has been breeched, like fair play has been abandoned. The child inside us still believes in a great overarching fairness, despite everything we learn to the contrary in adult life. We unconsciously demand immunity from being mortal for the day, fool ourselves we are in closer contact with some sort of great magic, whatever our religious beliefs, there’s still surely some sort of magic, please. It is a day we trick ourselves we are somehow untouchable, swaddled in a sort of sanctity we are desperate for, like babies. “Just give us this one day in our impenetrable bubble.” We all want that, as the year draws to a close and the new year stretches out before us like the not-so-distant present with a bow on top.

But our bodies are still just our bodies, wonderful beautiful miraculous, intricate frail and finite, a gift we never quite make the most of before they bow out.

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Netflix Induced Murder Immunity

I know it’s not very Christmassy but I can’t stop thinking about murder. It’s not because I’ve just been in an M&S tussle, passive-aggressively battling with a lady in a goose-down gilet for the last filo pastry parcel selection and hoping she burns the turkey and/or dies. Horribly. And gets decapitated. And her head gets stuffed inside the turkey and they don’t find it until they finish pulling the meat from the bones five days after Christmas because it’s a really fucking big turkey and then, boom, oh Christ – Judith’s skull. No. It’s because I have been watching Dexter. That series about an American serial killer that everyone was banging on about years ago.

I don’t usually watch much stuff, but every now and then I get pulled down the rabbit-hole of a major series and everything else stops existing. Usually about a decade after everyone else has watched it. I like to think it’s because I’m an individual who doesn’t get swept along with the tide but it’s actually because I’m in a bit of a daze most of the time and it takes ten years to get me to go “Huh? Sorry, what were you saying in 2006?” So I finally succumbed to watching an episode of Dexter after lots of mates told me they liked it – grand recommendations like “Dexter saved me from a life of bunny-hugging benevolent optimism and opened my eyes to the innate evil in the world”, “We actually thought about naming LouLouBelle Dexter. But then her little winky dropped off and we realised it was just a bit of ham”, and “Dexter shits all over everything”, which as a plot descriptor is alarming but as an idiom of general enthusiasm can’t be bettered.

Anyway, one short sesh in bed down and I was hooked on this dirty Miami cop epic.

Last Christmas it was Breaking Bad. There I was, propping my eyes open until the wee small hours of the morning because I had to watch Just One More. Waking in the morning with a jump because I had had feverish dreams about shit going down at the meth factory and I simply had to watch the next episode to make sure everything was ok. I needed to know that the meth was ok and that Walter White was ok; that he hadn’t got arrested while I had been irresponsibly sleeping on the job in my real life. I annihilated the entire lot in about two weeks. It became a bit of a problem. I was a bit blinky and distracted and real life felt fake and Breaking Bad world felt real. I haven’t really watched much since then. I would’ve felt cheap, cheating on Walter so soon after our emotional goodbye. Plus I had stuff to do. You can’t put your life on hold for crystal meth, things get out of hand.

But now I’m hooked on Dexter and everything’s turned to murder. I cannot look at a bin-bag without assuming my neighbours are wronguns. “Bet there’s some dude’s fingers in that Dolmio jar”, I size up as I pass. I pass an alleyway and assume that in the shadows are some muscly Cubans with a grudge. I hear the theme music in my head, all the time, and can feel my spine prickle like a psychic hedgehog; I know that something killy is about to go down nearby. But it’s not the same as Dexter. Murder fantasies in Southend are a bit more like Danny Dyer Goes to the Seaside. More likely to get suffocated with a sausage roll than splayed on a beach in a ritualistic Santa Muerte glory kill with hispanic candles neatly arranged around your decapitated noggin. Murders are dead exotic in Miami. Sigh.

I’ve found the most worrying thing about being addicted to Dexter is not that you are prepared to forego urinating for eight hours until you’ve finished a season, but that you start caring for Dexter himself. You go on a journey with the characters that far exceeds anything that can be achieved by a two hour film and you start to absorb parts of it. Moral quandary ahoy. Because you want him to get away with it all. The murders. You can’t bear the thought of him getting caught and spending the rest of his life on Death Row. I mean, that’s not right is it? That’s pretty clever telly. Making a psychopath the hero; inciting you to care about someone who ends people’s lives. Making you think “Well, it’s only a bit of stabbing, hacking, chopping, and dumping the body in the sea. People do way worse in goosedown gilets in shopping queues at Christmas.” We are very murky creatures, us humans. No wonder we get ourselves in such pickles.

I’m not sure what I’ll do when it’s over. I probably won’t kill anyone. I don’t think. I might just rest my eyes for a year until the next big series drags me down the rabbit hole. Maybe think about watching something less stabby. But it’ll take me a while to stop thinking about killing in the meantime so, er, make a list and I’ll see what I can do. I’m sure there’s such a thing as Netflix Induced Murder Immunity, there must be.

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Pramkicker: It Started In A Café…

Back in the distant yorey days of 2014 my friend Sarah and I were in a café. I was ploughing on with a triple shot Americano even though I’m a bit allergic, & Sarah was staring at me wondering why I didn’t just order tea. While we smalltalked a stream of mothers filled the cafe with their exuberant offspring and their high-tech perambulators. We smiled & nodded hullo. I crossed my eyes and did fish-face at a toddler who stood staring at me with a swollen nappy bum. As the hubbub in the cafe grew louder Sarah and I spoke a little louder to try & continue our Very Important Power Business Meeting (or VIPBM if you like anagrams that sound like virus software), which no doubt involved our dreams and aspirations for the next ten years, our relentless charity work for worthwhile causes, or what to have for lunch that very day.

Then Sarah got elbowed in the head by a mother who didn’t even turn round let alone apologise. Then I picked up a toy that was hurled at my feet – a little fleecy lamb, tired at the eyes from too much washing – to be met with a glare as though I was the leader of an international paedophile ring out and about scouting for talent. My cheeks flushed. Because I am not the leader of an international paedophile ring, people. I can just about manage my own menstrual cycle (it tends to work best when left to its own devices; you can’t lasso the moon) let alone operate on a highly criminal, covert, and morally reprehensible basis. We eventually felt so uncomfortable, so invisible and surplus to requirements that we left to find another cafe somewhere else, maybe in a neighbourhood known for more knife crime and fewer mother and baby groups, even though we knew more coffee would probably make my cheeks go pink and my throat go all constricty like I was being strangled in a cartoon where the tongue bursts out of the mouth like a party blower. JUST ORDER TEA, HASLER, YOU NITWIT.

In the street we began a conversation about motherhood and kids, dodging prams as we went. Sarah has often said she feels belittled by people who think she’s selfish for choosing to remain child free. She maintains that it’s selfish to have children if you aren’t sure you want them. I reissued my regular mantra that I haven’t a ruddy clue about anything; whether I want kids or not; that I sometimes have a pang, but not much. Not enough of one. Yet. I have received no bugle call and thus am at leisure to continue my wafty existence.

But. But I am 35, and aware that inside my tiniest parts – deep inside the intricate folds of my reproductive system, a work of genius I can take no credit for – is a clock, at some point at my prime wound tight and ready to burst its cogs, that will – at a time never to be properly administrated by myself, the me up here in my cerebral offices – start slowing down, slowing down, slowing down, until eventually it stops. Tick tock, tiiiiick toooock, til the rest is silence. My baby-making days over.

It’s not often that an ordinary morning spurs you to go home and write about it, but that day, in that cafe, a chord was struck that echoed. Very shortly afterwards I began writing my new play, Pramkicker, which became something of a melting pot for all the thoughts I had about All That Stuff, and a lot of thoughts I’d heard voiced by other women I know. It felt like a mess of conflicting concerns in my head that I needed to untangle – time and love and the human body and prospects and career and fulfilment and cherishing life and the possibilities and difficulties of all that – and writing is the only way I know how to go about trying to untangle anything. Writing is the way I process life, it’s how I understand, and more often now how I participate. Writing is what I do while and after I think and before I act. If I act.

I don’t normally talk about things I’m writing because I’m not very eloquent at saying what it is. I get all flustered and say ridiculous things like “It’s about a kind of story but I don’t know what yet.” And then people just stare at me as though they think I should probably take up watching telly instead. Most of the time I completely agree with them.

But what has been lovely with Pramkicker is that I’ve been talking about it lots. With lots of people. Men and women. Because I’ve wanted to know what other people think and feel about it all. And lots of people have been starting conversations with me about it too, and as always I have been reminded how lovely it is to share things with people. I’ve received so many messages from people who have things to say about motherhood; confessions or open comment about having kids, or not having them. About quandaries, about regrets. About sad things the human body throws at us, about the ticking of the biological clock. About knowing and not knowing. About how different humans go about filling their lives with different kinds of love in that strange vainglorious beautiful doomed pursuit of finding permanent happiness in an impermanent life, that cruel instinct that humans have that bumps alongside the behemoth business of merest survival. And while thinking, talking, or even writing about ‘all this baby stuff’ hasn’t made me any clearer on the matter, it makes me realise that whatever happens, with kids or without, I won’t be alone. None of us ever are if we choose to talk to each other.
Let’s just not try to do it all together in the same café, eh.

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Doing It

About twenty one months ago or thereabouts, I blurted out something in bed that’s gone on to change my life. I was talking to my best friend (texting, on the phone – she hadn’t just swung by and hopped in to keep her feet warm) – and having a moan about some idiot we worked for. A shambolic cretin who never paid anyone, who – we had just discovered – wasn’t even using his own name such was his checkered past of shady incompetence. We were hacked off. We knew something had to give. So I blurted. “I just want to do plays all the time, like, run a theatre company.” There was a pause just long enough for Hew to type “LET’S F***ING DO IT THEN, WENCH.”

So we did. Or started to. Our complicity in those moments turned our energy from low and despondent to wired and exuberant. It was quite an unceremonious beginning really, I suppose. I was in bed for one thing. But it felt important.

Few things we say in a day actually bring about change in our lives. There are small things, like “But I don’t fancy steamed fish tonight, I fancy steak, a bloody big one.”, but rarely something monumental to altering the progression of your time, thoughts, actions, and priorities for a considerable proportion of your future. Something that in its simplicity and brevity at once casts out all other options.

“I just want to run a theatre company.”
“So let’s do it then.”

Our company Old Trunk will turn two in June. I will turn 34. It seems a good age to have realised suddenly, after a life of drifting from thing to thing, that you know what you want.

We have had, I’m sure, an untypically blessed start for a new company. Since our eureka moment we have produced two plays I wrote which have been very well received locally and in London, been funded by Arts Council England twice in an increasingly difficult financial climate with cuts being made left right and centre, represented the Arts at the House of Commons, and appeared in the Sunday Times magazine. Lots of other lovely stuff we’re proud of.

I know that our success so far is largely down to our defiant determination to work our socks off constantly to the exclusion of most other things, to the amazing talent we are lucky to have in our cast Charlie and Edd, but we also owe the angle of our trajectory to some other wonderful people.

We’ve been lucky enough not only to have wonderful patrons, but also to be mentored by an arts organisation called Metal. They heard of our work, and asked us to curate the theatre tent for last year’s Village Green festival. We were honoured. They mentored us through the Arts Council application, offered invaluable help, introduced us to a whole industry load of thinking that we, being new, simply didn’t know and stood no chance of rapidly discovering for ourselves. They came to see our shows, and spoke up about us to other arts groups who didn’t know who we were. We were nothing but a couple of plays and a big bag of vague wishes that might never have been realised, but then we were given the clarity and support to do something with it. Because of their mentorship we are now being funded to take our two plays to the Edinburgh Festival and we’re so happy and excited we can barely make it to the end of an hour without sighing like girls.

We don’t know what the future will hold. We’ll work hard to keep ascending, doing the things we love, and are actually now bolstered even further by the desire to not let our supporters down.

It took a moment of ‘sod this’, of saying “Let’s bloody well do it”, but it also took people believing in us and opening a door as wide as our own scope to dream.

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Review – The Secret Wives of Andy Williams

A review for Old Trunk’s latest play The Secret Wives of Andy Williams, which premiered at Camden People’s Theatre in August 2013.

Low Down

It is rare in film, theatre or any art form to encounter a follow up show, a prequel or sequel that is as good if not better than the first. This unique occurrence has happened with Old Trunk and their new show The Secret Wives of Andy Williams, the prequel show to their stellar hit production last year, Watership Breakdown; The Bastard Children of Remington Steel. For background both shows are set in a nunnery where orphans and strays are taken in and looked after.

Review

Secret Wives of Andy Williams is every bit as quirky, honest, funny and engaging as the last production and yet manages to retain the same voice despite being about the nuns taking the front row seat over the orphans. Only one character remains as the through line, Sister Mabel Matthew, and yet the style is the same and so it feels undeniably like a prequel. The characters are exceptionally well formed and it is clear a huge amount of work and passion has been applied to enable the audience to fall headfirst and fully immerse in the stories of these likeable, unique characters.

The team of performers are very tight knit with only one actor different from the production last year. The addition of Edward Mitchell as Susan and Sister Gertrude has added a wonderful new dimension to what was already a fantastic group dynamic. Mitchell adds a sparkle and twinkle to this strong female trio and the balance that is created ensures a great sense of harmony. Mitchell is an excellent character actor, seamlessly switching from one to the next with not even a beat. Men, women, old and young are all delivered with the same level of passion and commitment.

Sadie Hasler is truly destined to lead the charge as we discover the next generation of prolific writers in the UK. I wouldn’t be surprised if she is not the name on everybody’s lips both for theatre and TV in the next year or so and I can certainly say I was lucky enough to witness the humble beginnings of that greatness at the Camden Fringe. Her trusty co producer and exceptionally talented actor and comedian Sarah Mayhew yet again reveals her attention to detail with character; playing Sister Clara, the obnoxious yet misunderstood Enid and Queenie Bee, all completely unique and utterly convincing. Charlie Platt is delightful as the confused young nun Caitlin and her sense of fun and innocence in this playful role is totally charming.

Hasler has delivered another little piece of heavenly storytelling to the stage and no doubt there are many more to come! I for one cannot wait to see what’s next for these nuns!

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The Vagabond Diaries – ‘Clarence Larchsap’

The Vagabond Diaries – stories of being human by Sadie Hasler accompanied live by M G Boulter & The Lucky Strikes – premiered in the Old Trunk theatre at Village Green Festival 2013.

The piece was read by actor David Streames.

Thursday, April 5th, 1922

This is the 47th year of my writing a diary every day. I would say I have written it religiously but there have been days, as we are all like to have, when I have not been all that religious. There have been days, as we are all like to have, when I might say I have written in poor reverence to the lord. I have had bad thoughts, I have cheeked people without their knowing, stolen small and large items according to need or want, have cast my eye too long on a raised skirt far more than a Christian man might, and I have cussed, but have always seen fit to scribble the badness out. My diary has more black lines than words. Some days are just great black lines, and now that I am in my 62nd year I cannot always remember what went there in the first place.

I feel a little like starting again. Writing a new date, that has never yet existed, of telling you, whoever you are – for who do we write to when we write a diary? I do not know – telling you, a you whom I do not know, who I am. If anyone ever knows such a thing.

I would start, I suppose, with my name. I could do that. I can and so I will. My name is Clarence Larchsap. I had a nickname once, but I forget what it was or who saw fit to give it me.

I suppose I might next tell you I was born in a little town in South Carolina. For I was. The name, I suppose, does not matter. Its topographical features, how I travelled around them and what I did within them matters not either. I could inform you of a great many biographical details, as people seem so set on doing, as though telling you things about themselves makes them exist a bit more, but I shall not.

Schooling, love, happy days and friendship, they didn’t last and mean little to me now. Parentage, even, those broken souls who forerun our own blighted journeys, that too has come to mean no more than a quick sigh and is not something I can stretch out to lay on the paper.

So why do I write, what do I store in these pages? I think I write to pass the time. If I did not write as I sat I would not know what to do. I cannot just be.

I suppose you might call me a man of few roots, a traveller, a vagrant, a vagabond.
I move about. People don’t tend to want a man with such a character to stick around. And so I keep moving. Having such an…anti-social proclivity does not invite your welcome in most places. People like their stuff to remain intact. Unburned. I try to respect that by not sticking around after I have reduced their property to cinders. Sometimes I will pass through without giving in to the calling of the match in my pocket, which always burns there even before it is struck. And sometimes I permit myself. Sometimes I plan it in detail, and sometimes I do not know I have done it until I stand there with the hard honest heat on my cheeks.

Was I set off at a state of unrest, born as I was during an earthquake? Did the noise and chaos of nature set itself thudding in my heart from the moment I burst out into the air? I don’t suppose to know. I know only one real thing. As soon as my eyes could flicker, as soon as my fingers could curl and pinch and reach towards the things I wanted, I was drawn to flame. I would disregard all toys and books, I would ignore all beauty and spectacle, if I could look instead at fire. Even a lamplight in its last juddering breath would hold my attention more than the desire-struck face of the most beautiful woman in the world. She is nothing next to it.

You might say I was an arsonist. I suppose most people would. But I do not think the word does justice to the sight of something reducing itself down to ash in the blinding searing heat of a man acting in the thrall of his own secret will – something condemned to nothing in the smallest of moments. The word says nothing of this, so I prefer to leave myself uncategorised.

Perhaps it is sickness. Perhaps it is a revenge against something I cannot remember from my past. Perhaps it is a struggle with myself, with the world, with God himself.

Dear Diary, I do not know or I would tell you. But I will say, with the candour you can stow in a diary – this most loyal of friends, silent as ash – I will say, as a final thing before I take my night-time’s perambulation around all that dry matter people build up, those frames for future fires – I will say, before I move on in the morning – nothing shines quite a light like a thing you have set aflame yourself. Simply put, between two friends, I just like burning stuff down.

SONG – ‘BEAST’ – THE LUCKY STRIKES

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