Two Nights at Highclere

Tags

A Christmas Carol, A Christmas Carol film, Charles Dickens, Downton Abbey, Highclere Castle, The Café Royal

My final week of performing continued on Monday, just a week after returning from America, with the first of two performances at the magnificent Highclere Castle.

I had left my hotel in York at around 9am and with a decent drive I managed to get home for some lunch and time with with the family (the latter having been a rarity over the previous month), but at 2.15 it was time to get back into the car and head to the beautifully castellated and be-towered cuboid home that in real life is the home of Lord and Lady Carnarvon, and in fiction is the ancestral home of the Crawley family in the guise of Downton Abbey.

I first performed at Highclere two years ago, and the event had been a great success, but sadly one that we couldn’t repeat in ’20, for obvious reasons, but in 2021 Lady Carnarvon was anxious to celebrate Christmas well in the old house and booked me for a double stint, with shows on both Monday and Tuesday.

As the sun lowered in the sky I turned into the long driveway and was delighted when a security guard flagged me down and cheerily said ‘Hello Mr Dickens, just follow the road up to the front door where you can unload!’ so I swept into the large gravel area in front of the house and pulled up outside the great front door (such a spacious area deserves a good ‘sweep’). As I opened the car door I was cheerily greeted by John, the Castle Manager, who opened the large front door for me, and helped me load my things in to the Saloon, the great space, dominated by a huge Christmas tree, which forms the heart of the house and where I would be performing.

Two years ago a decent sized stage had been erected in front of the huge stone fireplace, and that had been surrounded by around 80 seats. This year numbers had been reduced to 50, to allow guests to distance as they required, and about a metre had been lost from the stage, to allow more room between me and the front row. Once I had my furniture placed I could see that the performances this year were not destined to be terribly active ones, as I wasn’t going to have much room to move.

I chatted to John, and Charlotte, the events manager with whom I have been corresponding during the year, and ran through the running plan for the event (start at 5, interval at 5.45, 30-minute interval, second act at 6.15, finish at 7 and then join the guests for supper). I also ran through the sound queues with Charlotte, and then took myself off to one of the ‘back stage’ private rooms where I laid out my costumes and changed into costume.

As I sat waiting waiting for 5 pm to tick around an email came in from The Café Royal in the heart of London, where I was due to be performing on Wednesday evening, saying that it was with great reluctance that they had been forced to cancel the event, due to the fact that many of the guests had decided that they didn’t want to be with groups of people in the middle of London, where the Omicrom Variant of Covid had been spreading rapidly through the previous week. I had fully expected to loose some shows as the national situation worsened and there was always the possibility that the government would introduce tighter restrictions on events, and scupper the lot. If the Café Royal event was to be the only victim, then I would be relieved.

At 5 o’clock I made my way through the various corridors and met with John, who would be introducing me to the stage. All of the guests had arrived, had been given a welcoming glass of champagne and were now sat in the Saloon ready for the show. I made my way to the top of the staircase, and John walked onto the stage where he said a few words and then welcomed me. Charlotte brought the music cue in perfectly and I walked down the stairs, through the audience and up onto my little stage. To my left sat Liz and our good friends Nikki and Martin. Highclere generously offer me the opportunity of bringing guests to the show, and it was so nice to see ‘my team’ among the audience (this would be the first time that Liz has actually seen the show for two years, and the first time that Nikki and Martin had ever seen it, although Martin worked closely with me on the creation of the video version, which is once again available to rent – details at the end of the post).

Despite the lack of space to move, indeed maybe as a result of it, the show was a very good one, concentrating more on the storytelling aspect, rather than the brash theatricality. I could tell that the little pieces of knock-about business wouldn’t play well with this group, so I didn’t bother with encouraging them to gasp at Mrs Cratchit’s goose, or to sigh in delight when the pudding was produced, I just told the story, and the show was the better for it.

The interval came and went, and I was soon calling to the young boy from Scrooge’s window. When I finally wished everyone a ‘Happy Christmas’ (remembering that I was now in England), and left the stage, the applause echoed loudly around the old walls, and I returned to take my bows to all sides, indeed I was called back once more for a second round of bowing. It was a lovely and rewarding experience.

I hurried back to my dressing room where I changed into a jacket and tie, so that I could join Liz, Nikki and Martin in the festive marquee which had been erected in the courtyard at the rear of the house and where tables had been prepared for each individual bubble of audience members. The menu featured salmon and beetroot, delicious Scotch Eggs with golden yolks, a demitasse of mushroom soup, all finished up with a mince pie and a chocolate caramel cup. Glasses of champagne were regularly refilled, although with a drive ahead of us all, we had to decline further top-ups. This was a rather different dining experience to the various meals delivered to me by Uber Eats over the last few weeks!

It had been a lovely evening, made so much more special by having Liz and our friends there.

The following evening I was back at Highclere for the second show and this time as I drove up to the house there was a beautiful golden setting sun behind creating an image that would have had the film crews of Downton Abbey running for their cameras to capture.

I made my way back to the dressing room and discovered that the staff had brought in a hat stand and hung all of my costumes up for me, as well as laying my shoes neatly out. It was as if the butler had come in, which was rather grand.

The preparations for the show, and the show itself followed the same routine as the day before, although the audience were a little more restrained. On stage it is very difficult to judge how people are reacting when most of their faces are hidden behind masks, but it seemed as if everyone was having fun, and the enthusiastic applause at the end certainly backed up that supposition.

After I had taken my bows I changed and packed my things up, and returned to the Saloon. I was not joining the guests for dinner tonight, so once I had retrieved the car and brought it to the front door, I could load up and return home by 8 0’clock, where I could have a supper at home with Liz – a rare treat!

Highclere Castle is a truly wonderful venue to perform A Christmas Carol in and I am delighted that it has become a fixture on my UK tour.

For any of you who haven’t been able to see the show this year, or who need an extra fix, remember that my film version is available to rent, and you can access it through the following link

TO RENT GERALD DICKENS’ A CHRISTMAS CAROL: https://tinyurl.com/ychp7t3r

An Unexpected Audition and An Unexpected Companion

Tags

A Christmas Carol, A Christmas Carol First Edition, Cafe Royal, Charles Dickens, London, Mr Fezziwig, Shield Beetle, Winterthur

I woke early on Thursday morning (to be honest, my body clock simply hasn’t adapted through this whole trip), so I sat up in bed writing my blog post and sipping coffee, until it was time to get ready for breakfast. I had arranged to meet David and Teresa at 8.30, and I walked from The Carriage House, where my room was situated, to the main building and, just as I was asking for orange juice and coffee my friends joined me. We sat a large table and soon were tucking into plates of pancakes (David and I), and a frittata (Teresa). The conversation picked up easily from where it had ended the night before and the time sped by, until we had three empty plates before us. As we sat and talked, a message came in from home – Liz was just settling down to watch our youngest daughter perform in her school’s Nativity play: great things can come from Nativity performances! I showed pictures to David and Teresa and they ‘oooo’d and ‘ahhh’d’ appropriately. Soon, though the time had come for me to get back to my room to prepare for a Zoom call to the UK, and David and Teresa had to pack ready to leave, so we posed for our annual photograph and then returned to our respective rooms, having hugged goodbye in the car park.

My Zoom call was due to be with the banqueting team at London’s prestigious Cafe Royal, to go through the format of a dinner event I am performing there on December 22. There wasn’t a desk as such in my room, so I removed the light and little vase of flowers from the bedside table and moved it so that it was in front of the small armchair in the corner, which gave a plain view of the wall behind, avoiding seeing my suitcase, overflowing with clothes and my unmade bed.

At exactly 10 (3pm London time) the call connected, and my contact Kerry popped up, she was in a tiny office and behind her the entire team, including chef, maître d’ and banqueting manager were squeezed in. We went over the format of the evening during which I will be performing between the courses of a fine dinner, and just as I thought we were ready to wrap up, Kerry said ‘could you do a bit of what you do now? None of us know what it is.’ And so, I suddenly was performing a completely unprepared and unexpected audition from my little room in Fairville, Pennsylvania. I chose the beginning of Stave 2, the arrival of the Ghost of Christmas Past, and fortunately my efforts were greeted with smiles and laughter, which was good, and when I finished, I even got a little round of applause. I promised that I would send a link to my video of the show too, to give them a better idea as to what is involved.

With the call over I emailed Kerry with the video link and also sent it to David and Teresa who were keen to see my efforts, and then I began to make preparations for the day ahead which would involve two more shows at Winterthur. I probably wouldn’t have time to return to the Inn between commitments, so I made sure that I had everything that I would need.

Back at Winterthur the old store was deserted, and I went into the auditorium to check that everything on the stage was correctly placed for the first show, and also retrieved my costume from the night before, which I had left airing on the coat check rack at the back of the hall. Lois arrived and we went through the schedule of the day, and then I retired to change, while she sorted out her volunteers who would be greeting the audience.

At 1 o’clock I made my way to the hall, and asked Lois to place a mask on the side of the stage for me, so that if I got collared by various audience members after the show again, at least I could have some protection.

The first show went very well, and the audience was full of a lot of people who had seen the performance often, meaning we all had great fun together. It felt more relaxed than the evening before as I had learned my lesson about not trying too hard. It was a good show.

When the question and answers were done, and I had posed for a couple of (masked) pictures, I went back to my office and changed, and when I was sure that the hall was empty, I hung my costume on the rack again. I had a couple of hours to kill now, and Lois bought me a salad from the cafeteria, which was much needed. When I had finished eating, I went back to the stage and sat in the big red armchair on the set, it being the most comfortable place to rest.

The evening’s timetable was slightly different from the previous two, in that the show was reserved for members of Winterthur, and they had been promised a special pre-show event, during which there would be canapes and wine served, and at which I would make an appearance. It had been decided that it would be a good idea to do the question-and-answer session then, so I needed to be in costume at 4.45. The reception was in the cafeteria and when I came in there were plenty of people already eating, but they were spread widely throughout the large room, which would make being heard difficult. I took up a position as centrally as I could, and opened the floor to questions, which flowed freely. One of the last inquiries was ‘Do you think that Charles Dickens would be proud of you?’ I had to pause to consider this, because that is quite a thought, but eventually I answered, ‘I think that he would be, yes, because I am following his theatrical dream’. I followed up by saying that ‘However, if you should see a lightning bolt strike me down on the stage, you will know I was wrong!’

It was now 5.15 and the show was due to start at 6, so I wound the session up and returned to the office, or ‘the bunker’ as Lois christened it, to relax and prepare. I was aware that I had over-used my voice in the cafeteria, so I drank a lot of water, sucked some Fisherman’s Friends lozenges, and did a few deep breathing exercises.

At 6 I stood at the back of the hall, which was almost full, and after Lois had made her introductory remarks, I took to the stage for the final time on this visit. The opening of the show was fairly uneventful, and I was keeping up a good pace, and then I noticed that I had company on stage – a little beetle, possibly a Shield Bug judging by its shape, was strolling around, apparently checking out what I was doing: I had joked about the lightning bolt coming from Charles Dickens, but perhaps he had come to check on me in the form of a bug! I became transfixed by my new companion, and whenever I could I checked his whereabouts so as not to tread on him (if it were a reincarnation of my great great grandfather, it would be a rather ignominious end to be squashed under a decsendant’s boot). As Fezziwig’s wild dance approached, the beetle crawled to the edge of the stage, as if he realised that he was in mortal danger, and then when the dance was over, he came back to centre again.

On the play went, and I managed to avoid him, until eventually he disappeared. At moments when I was on my knees, I checked the pattern in the rug to make sure I hadn’t squished him but there was no sign. Maybe he had deemed himself satisfied with my efforts and taken flight. My very own Sprit of Christmas standing by me!

Anyway! The show itself went very well and came to a great end with a loud and long standing ovation. Having done the Q&A preshow there was no need to do another one now, but I was aware of Lois standing at the edge of the stage clutching a book and when the audience sat down, she thanked Dennis for his efforts in the sound box (every cue had worked perfectly at every show), and then thanked me for coming and presented me with a Winterthur gift book, which had been signed by many of the staff as well as lots of audience members.

I felt very moved by the kind gesture and left the stage to yet more applause.

The first thing I did on returning to the dressing room was to check the bottom of my shoe, and, to mis-quote my show, there was ‘Noooooo Bug!’

Now I had to pack up and make sure that I had everything, as I would be moving on the next day, so I took quite a time hanging costumes collecting cufflinks and the watch, making sure I had my signing pen, and everything else. When I emerged, there was a young man waiting for me clutching a very early edition of A Christmas Carol, maybe a second, third or fourth edition. Unfortunately, I am not an expert, so I couldn’t verify exactly which it was, but I gave him some suggestions as to how to find out. It was such a privilege to hold the little edition, and although it was not in pristine condition, the quality of the coloured illustrations was extraordinary. The books were originally printed with black and white engravings of John Leech’s illustrations, and each of those was then hand tinted with watercolour, meaning that no two early editions can ever be exactly alike. The richness of the colour in this edition was amazing, particularly the Ghost of Christmas Present whose robes were an incredibly deep and rich emerald green. To hold an edition from 1843 or 1844 is always a very special connection to the origins of the story.

It was time to leave, and Lois had invited me to share dinner with her family, so I followed her car into a neighbourhood in the suburbs of Wilmingtom, where her husband and two sons were waiting. The two boys were fascintaed to know about England and pressed me with a never-ending series of probing questions., some more difficult to answer than others: ‘What is your favourite British word?’, for example. It was a lovely, relaxing way to come down from the two days of performances at Winterthur, and we ate Barbeque in rolls, and salads, followed by cheesecake and cookies, and we talked and laughed. Soon it was time to leave, and after having a picture with the boys in front of the Christmas tree, and saying goodbye and thank you to Lois, I drove back to the Fairville Inn, where I hung my shirts from the day’s performances in the cupboard to air, and then retired for the night.

Friday morning promises to be quite busy, with a radio interview at 9.30, followed by my Covid test at 10 – fingers crossed, one and all!

Byers’ Choice

Tags

A Christmas Carol, A Christmas Carol film, Bob Byers Snr, Byers'Choice, Carollers, Chalfont PA, Joyce Byers

Throughout this Christmas season I have been sharing some of my memories of Christmas Tours Past with you, being prompted by my phone’s ‘on this day’ function. I have told you about performing with the Vaillancourts in Massachusetts and at The Country Cupboard in Pennsylvania. I have described trips to Tennessee and to California, as well as the luxury of Williamsburg and the friendship at Winterthur. However there is one venue that I have not shared with you because I wanted to save it until Christmas and that is the headquarters and visitor centre of a company called Byers’ Choice.

Around 15 years or so ago, when I was represented in America by Caroline Jackson, a member of the Byers’ Choice team came to watch me in a show at Hershey PA, with a view to my performing for them the following year. Caroline told me about the Byers family and the company that they had created, she explained that they had a huge network of collectors across the country and to perform for them could be a major development – little did any of us know back then exactly how big. The lady that came to meet me in Hershey was Lisa Porter and obviously I made a positive impression for the following year Byers’ Choice appeared on my schedule. But things were about to change – my contract with Caroline Jackson was coming to an end and I had to make the decision as to whether I would renew it; she wanted a 5 year extension and I wasn’t sure I wanted to commit for that long. In the end I took the decision to retire from travelling to America and it seemed as if my relationship with Byers Choice, fun as it had been, was going to be a very short one.

At this point let me break the narrative a little by explaining who the Byers are and what they have achieved: In the 1960s Joyce Byers was a struggling student in fashion, and despairing at the over-priced and garish Christmas ornaments available at the time she decided to create some Christmas table decorations of her own made from scraps she found in the house. By twisting an old wire coat hanger into a basic skeleton she could created a body by wrapping soft tissue paper around it. Off-cuts of material from her studies became coats or dresses, and Joyce used modelling clay to form features on the figures’ face. To celebrate to joy of Christmas Joyce decided to pose her creations as if they were lustily singing carols, so pinched their mouths into a little ‘o’ shape and from that time the figures became Carollers.

Some of the earliest Carollers

In no time the Carollers attracted attention, friends wanted a set for their own tables and it became apparent that there may be a wider market for them. Towards the end of the decade Joyce’s husband Robert was finding that a downturn in the economy was hurting his construction business but his fine business brain could see that the Carollers had a future, if only he could have his dining room table back (it having become the centre of production each Christmas), and in 1978 the couple employed their first staff: the Byers’ Choice company was formed.

The new company rapidly grew thanks to the American public’s three passions: Christmas, collecting and products that are patriotically handmade on home soil, and soon there was a need to move into new surroundings. The dining table gave way to a barn which eventually was replaced by the magnificent visitor centre and production facility which sits in Chalfont, PA. Joyce still designed each Caroller, Bob still sat at the helm of the business and their two sons Bob Jnr and Jeff, came into the family firm to take it to even greater heights. Christmas was always the vortex around which Byers’ Choice swirled and at some point Joyce included characters from one of her favourite Christmas stories into the range. By manufacturing Scrooge, Marley, the three spirits and the Cratchit clan, the company put into motion the series of events that would lead to me working so closely with them.

Back in the early 2000s I had made the decision to retire from touring in America and when that first Christmas season came around it felt as if something was missing, and I wasn’t sure that I had made the correct choice. But I had made my bed and burnt my bridges, indeed, I had apparently mixed my last metaphor. The process of getting the correct visa had become increasingly difficult over the years, and required a great deal of expertise: nobody would want to take that job on just so I could get on stage again. But a year later I received an email from Bob Byers Jnr asking if I would like to return to America to perform at the company’s anniversary (30th, I think) celebrations. I reluctantly declined and explained that even to perform for a single event we needed to spend months, and a lot of money, preparing a visa application with no guarantee that it would even be approved. What would be the point for a single weekend? I don’t know if Bob Jnr is a fisherman but he should be, for he now gently played me like a salmon in a peaty Scottish river. Maybe we could look at a visa if I would return to perform a few dates the following Christmas season too, that would make it more worthwhile for us all….wouldn’t it? He landed his catch.

Back in Chalfont the production of the Carollers takes place in a huge warehouse, dotted with benches, the open expanse is divided into different areas so as you walk through you can see the wire frames padded with tissue awaiting heads which are being carefully individually painted at other benches. Miniature coats, cloaks, dresses and bonnets are sewn with the the precision and skill of a Saville Row tailor and the whole collection are brought together to produce another completely individual and therefore collectable piece.

But each Christmas when I arrive all of these benches are removed and the warehouse floor becomes a theatre of giant proportions. Bob Jnr loves to think of himself as Mr Fezziwig clearing the warehouse on Christmas Eve ready for the great party!

A large stage is erected at one end and David Daikeler leaves his normal job in sales to become the stage manager, rigging a superb theatrical lighting system and installing state of the art sound equipment. Joyce (still very hands on within the company that) dresses the stage with fine furniture, whilst hundreds of white seats are laid out – I think the largest audience we had in that room was around 900, but we are limited by parking space!

My dressing room is in a large conference room surrounded by fine American artwork, and I have plenty of space to spread out. The corridors of the office space are filled with plaques, certificates and awards which tell another story about Byers’ Choice: their philanthropy. In 1982 Bob Senior created The Byers Foundation which donates a large portion of the company profits to various charities, local, national and international. This was never a cynical business ploy, the donations are made because the Byers family are good, kind, caring people. I feel it a privilege to have met them and an even greater privilege to continue to work with them.

Bob Byer’s Jnr and his wife Pam construct and manage my tours, generously and thoughtfully, striking long and deep relationships with the various venues I have already written about.

This year of course it was Bob who initiated the idea of making a film and put the funding in place, alongside various other partners, to get it done. Even when orders for the Carollers went through the roof at the end of this year as people were desperate for some joy in 2020 he was always there at the end of a phone, answering questions, arranging the systems through which people around the globe could rent the movie and doing it all with the grace and care inherited from his parents.

I wanted this to be special celebratory Christmas tribute to my dear friends, Joyce, Bob Snr, Bob Jnr and Jeff, as well as all of the artisans who make the figurines, but this week brought sad tidings from Chalfont: Bob Byers senior passed away after a period of ill health. His family had been able to spend quality time with him through recent weeks and were at his side when died on 21st December, in the heart of season during which he had brought so much joy to so many people over the years. You can read the family’s tribute to Bob on the company website, I shall put the link at the end of this post, but I can only say that to me he was a great fun man to spend time with, his passions for fine red wines and vintage cars engaged us in long conversations as he proudly showed off his latest acquisition. During the days of my shows Bob would be running around the factory checking that there was a goodly supply of toilet roll in the bathrooms, and that everything was perfect. He was that kind of man – not expecting anyone else to do something if he could do it himself

I know the family will spend this Christmas mourning a great husband, father and grandfather, but oh what an impression he has left on this earth and what a fine legacy remains.

Bob Byers Senior. 1938 – 2020 RIP.

The Byers Family tribute to Bob can be read here: Bob Byers Sr (byerschoice.com)

Have Yourself A Merry Little Christmas Carol Trivia: The Answers

Tags

A Christmas Carol, A Christmas Carol film, Charles Dickens, Christmas Quiz

Christmas is behind us but, heeding the advice of Charles Dickens, we are going to keep it all the year! Before the festive season reached its climax I set a little quiz based on the original text of A Christmas Carol, and here are the answers:

The Preface:

1: Which publishing house produced A Christmas Carol (even though it was funded by Dickens himself)?

A Christmas Carol was published by Chapman and Hall

2: Who was the illustrator of the first edition?

John Leech

3: On what date was the book published?

19 December 1843

4: How many copies were printed for the first edition?

The first run was of 6,000 which sold almost instantly

5: What is the full title of the book?

A Christmas Carol In Prose. Being a Ghost Story of Christmas

Stave 1:

1: Assuming the story is set in 1843, in what year did Jacob Marley die?

‘He died seven years ago, this very night’ Therefore on 24 December 1836

2: Who would have been on the throne at the time of Marley’s death?

William IV reigned until his death on 20th June 1837, when he was succeeded by Queen Victoria

3: What time of day is it when we first enter Scrooge’s office?

The clocks had just struck 3

4: What does the Clerk use to warm himself?

His comforter (scarf) and his candle

5: What is the name of the first visitor to the office on that evening?

Scrooge’s nephew, Fred

4: How many charity collectors come to solicit Scrooge on Christmas Eve?

Two

6: where does Bob Cratchit slide on the ice before going home?

He slides on Cornhill, which sets Scrooge’s office in the very heart of the financial heart of London

7: Where is his home and what connection does it have to Charles Dickens?

Bob Cratchit’s home is in Camden Town, the region in which the Dickens family resided when they moved to London in 1822. Charles was aged 10 at the time.

8: Who built Scrooge’s fireplace?

‘The fireplace was an old one, built by some Dutch merchant long ago.‘

9: After Jacob Marley floats through the window who else does Scrooge see?

‘The air was filled with phantoms, wandering hither and thither in restless haste, and moaning as they went. Every one of them wore chains like Marley’s Ghost; some few (they may be guilty governments) were linked together; none were free. Many had been personally known to Scrooge in their lives. He had been quite familiar, with one old Ghost, in a white waistcoat, with a monstrous iron safe attached to its ankle, who cried piteously at being unable to assist wretched woman with an infant, whom it saw below, upon a doorstep. The misery with them all was, clearly, that they sought to interfere, for good, in human matters, and had lost the power for ever.’

10: In my film what Churchyard did I use to film the opening scenes?

The Churchyard of St James’ Church, Cooling, Kent, which inspired Charles Dickens in the creation of the opening chapters of Great Expectations.

Stave 2:

1: What is the second Chapter called?

The First of the Three Spirits

2: What does the Ghost of Christmas Past carry under its arm?

‘A Great extinguisher’, or candle snuffer

3: What book was the young Ebenezer reading at school?

Robinson Crusoe

4: Who wrote it?

Daniel Defoe, in 1719

5: What did the Headmaster of the school give to Ebenezer and his sister before their journey home?

‘Here he produced a decanter of curiously light wine, and a block of curiously heavy cake, and administered instalments of those dainties to the young people….’

6: What country dance did the fiddler accompany at Fezziwig’s party?

Sir Roger de Coverley

7: What was the name of Ebenezer’s fellow apprentice at Fezziwig’s?

Dick Wilkins

8: When Ebenezer is shown the house of his ex fiancée, there is a scare about the baby – what did the family think had happened?

‘The terrible announcement that the baby had been taken the act of putting a doll’s frying pan into his mouth, and was more than suspected of having swallowed a fictitious turkey, glued on a wooden platter.’

9: When Belle’s husband walked past the office window of Scrooge and Marley’s what day of the year was it likely to have been?

As he tells Bell that ‘Jacob Marley lies upon the point of death so I hear’ it is likely to be Christmas Eve.

10: In my film all of the scenes from the past were filmed in the Crypt of Rochester Cathedral – which of Dickens novels does the Cathedral feature strongly in?

The Mystery of Edwin Drood. Charles Dickens’ final, unfinished, novel is set in the fictional cathedral city of Cloiseterham, and also features Eastgate House which also appears in my film as various different locations.

Stave 3:

1: What is the time when Scrooge finally gets out of bed?

1.15 am

2: What does the Ghost of Christmas Present wear around its waist?

An empty Scabbard

`3: Outside the fruiterers’ shop there were ‘piles of filberts’. What is a filbert?

A nut

4: What was Bob Cratchit’s weekly wage?

15 shillings, or 15 ‘bob’

5: How many children did Mr and Mrs Cratchit have?

6: Peter, Belinda, Martha, Tim and the ‘two youngest Cratchits – boy and girl’

6: In my film version of A Christmas Carol I used an an Elizabethan alms house called The Six Poor Traveller’s House to represent the Cratchit’s home. Charles Dickens wrote a short story about the house – what was it called, and why?

The essay was called The Seven Poor Traveller’s House. The house could only accommodate 6 people, but Dickens as the narrator became the seventh

7: Why did Mrs Cratchit’s Christmas pudding smell like a washing day?

Traditionally a Christmas pudding is wrapped in muslin while it steams

8: After leaving The Cratchit’s house the Spirit suddenly removes Scrooge from the city and shows him simple Christmas celebrations in three remote locations: where are they?

A mine, in a lighthouse and onboard a boat at sea

9: According to Charles Dickens ‘..there is nothing in the world so irresistibly contagious as…’ what? (hint, it is NOT Covid19!)

Laughter and good humour

10: What is the answer to Fred’s ‘Yes or No’ game?

Uncle Scrooge!

Stave 4

1: What is the title of Stave 4?

The Last of the Spirits

2: How many wealthy merchants in total does Scrooge watch discussing his own death?

Six

3: What is Mrs Dilber’s occupation?

She is a Laundress

4: How does old Joe keep a tally of how much he will pay each of his visitors?

Keeps a record by chalking figures on the wall

5: When Scrooge sees the vision of a dead body under a ragged sheet, there is an animal in the room also, what is it?

A Cat

6: Scrooge is shown the vison of a husband and wife who are in debt to him – what is the wife’s name?

Caroline

7: What is Mrs Cratchit doing when Scrooge returns to the house?

Sewing

8: Where does Tiny Tim’s body lie in the vision of the future?

In the upstairs room of the house

9: The Spirit leads Scrooge to a churchyard, but what establishment do they pass on the way?

His own house which he notices is occupied by someone else

10: There is an actual grave to Ebenezer Scrooge in the UK – where and why?

In the city of Shrewsbury, where the George C Scott movie was filmed. It was a clause in the filming contract that the stone be left in the churchyard for tourism purposes.

Stave 5

1: How does Charles Dickens describe the ringing of the church bells on Christmas morning?

He was checked in his transports by the churches ringing out the lustiest peals he had ever heard. Clash, clang, hammer; ding dong, bell. Bell, dong, ding; hammer, clang, clash! Oh, glorious, glorious!‘

2: How much does Scrooge promise the boy on the pavement if he brings the poulterer back to the house?

A shilling

3: How much does he promise him if returns within 5 minutes?

Half-a-crown

4: ‘I shall love it as long as I live!’ cried Scrooge, patting it with his hand. ‘What an honest expression it has on its face!’ What is Scrooge talking about?

The knocker on his door

5: How many times did Scrooge pass his Nephew’s door before he plucked ‘up the courage to go up and knock?

A dozen times

6: What time did Bob Cratchit arrive for work on Boxing Day (the day after Christmas)?

9.18 and-a-half

7: What did Scrooge tell Bob to buy for himself, before he dotted ‘another i’?

A coal scuttle

8: And what drink did he promise him?

Smoking Bishop

9: Who was responsible for filming and editing my film version of A Christmas Carol?

Emily Walder

10: What are the final words of the novel?

‘And so, as Tiny Tim observed, God bless Us, Every One!’

I hope that you enjoyed this little diversion, have a very happy and safe 2021

The End of the Tour: Happy Birthday and a Lamb Pasanda

Tags

A Christmas Carol, A Christmas Carol film, Byers' Choice, Henley-on-Thames, Liverpool, Orgin8 Photography, St George's Hall, The River Mersey, The Spice Merchant, The Wirall, Thornton Hall Hotel and Spa

My extensive 2020 tour of three venues continued and concluded over this weekend as the country was plunged ever deeper into more complicated layers of lockdown.

On Saturday morning I loaded my car with the various pieces of my set (carefully designed to fit into the rear of a Renault Kadjar) and set a course for The Wirral – the beautiful peninsula to the south of the River Mersey. In past years I have regularly performed in the city of Liverpool, specifically at The St George’s Hall where Charles himself gave readings, but harsh restrictions in the city led to a nervousness of many venues to stage events meaning that Lynne Hamilton, the producer who promotes my shows in this region, had to search for alternative sites. With time rapidly running out to organise and market a show Lynne finally came to an arrangement with the Thornton Hall Hotel and Spa, and the date was to be the 19th December, the anniversary of the day that A Christmas Carol had been published in 1843. It seemed as if the stars were truly aligning.

My SatNav set I made the journey north on roads which were very much quieter than in more more normal years of yore. The hotel sits on the outskirts of the very pretty village of Thornton Hough which was originally built as a model village by a mill owner in 1866 before being developed by William Lever as a community for his executive staff working at the Sunlight Soap factory nearby.

Having checked in to the hotel I found my way to the Torintone Suite where I was due to perform. The large room had been set up with a stage at one end and tables and chairs very carefully placed to abide by the strict regulations. Members of staff, all masked, bustled about making final preparations. I introduced myself and received muffled greetings and welcomes in reply, before starting to arrange my furniture on the stage.

Every venue has its own particular challenges and I immediately realised what those would be here: over the stage hung two beautifully designed chandeliers, modern in design, made up of hundreds of glass droplets which dangled from little hooks…unfortunately with the raised stage they dangled to a lower height than 5’10 plus top hat – I was going to have to very carefully navigate my way around.

Soon Lynne arrived and we made the final preparations, the most complicated of which was to arrange my opening music and sound effect to play at the correct moment, for the CD unit was in a completely different room (actually a tiny stock cupboard behind the bar area), meaning that we had to set up a chain of people to allow Zak, one of the staff members, to hit the button bang on cue.

Soon the time for the audience to arrive was approaching so I made some final checks to the stage, before waiting for the start time of 2.30. Although the hotel had not staged any events like this for months they had worked out a system of taking bar orders and serving drinks which they carried out like clockwork. Soon everyone who wanted one had a drink and we were ready to start. Lynne got on the stage and welcomed everyone, who were revelling in a tiny moment of normality in turbulent times, and the show began.

I performed in two acts, and successfully managed to not destroy the chandeliers, the audience responded enthusiastically throughout. After I had finished I chatted to a few audience members (all masked up, of course and from a distance), and learned that many people had seen me perform in Liverpool before and had made the journey across the Mersey to catch up with me this year.

Between shows I went to my room and as soon as I switched on the TV I discovered that the Prime Minister was announcing even tighter restrictions on the country, and the jolly plans that had been put in place to temporarily allow a few household bubbles to meet over the Christmas season were henceforth rescinded. Inevitably Mr Johnson would now be slammed in the press as the PM who cancelled Christmas. It was all too depressing to watch, so I flicked the channel and was instantly rewarded with Alastair Sim skipping around his room in sheer undulated joy: once again A Christmas Carol had come to the rescue.

The evening show was at 7.30 so I had plenty of time to rest before the second audience, slightly larger than the first, took their seats, ordered their drinks and prepared themselves for a dose of escapism to treat the depressing malaise that has spread across the country.

Again the show was a success, and again I was able to chat and pose with some of the fans who had tracked me down!

When I returned to my room the day’s duties were not quite done for I had a Q&A call from America, which was arranged to celebrate the 177th anniversary of ‘The Ghostly Little Book.’ The video session had been arranged by Sandy Belknap, my good friend from Nashua, who has been doing a lot of marketing work to promote the film during the last few weeks. I was to be interviewed by Pam Byers, who would usually be organising and managing my American tour. The whole technical aspect was overseen by Scott, a colleague and friend of Sandy’s. We virtually forgathered in our virtual studio and ran through the running order that Sandy had drawn up and then with a couple of minutes to go Pam and I were left to our own devices, but with Sandy and Scott feeding chat messages to us, guiding the session.

Pam welcomed me and invited me to chat about the gestation and publication of A Christmas Carol, before opening the ‘floor’ to questions, which started to pour in. I was asked if I had a favourite copy of A Christmas Carol and I talked about the ‘reading’ version upon which I based my first show. The volume in question was first published in 1969 with a white cover (and that is the one that was read to me by an uncle – my first experience of the story), then re-published with a red cover (I am not sure when that was), and finally with a green cover which is the copy I have marked up with some of my own performance suggestions from 1993.

Another question was about Dickens development of characters and did he base any on real people, also the names, where did they come from? Of course Charles Dickens was an observer above all things, so his greatest characters were an amalgam of many character traits that he had noticed around him. As for the names, they were very important to him, having to capture the essence of the character in an instant.

I was delighted to notice a couple of questions pop up from ‘Martin at Orgin8 Photography’ Martin is a good friend who took the fantastic still photos for the film’s promotion. Martin’s questions focussed on the making of the film and the challenges I faced in creating it, which was a lovely avenue to go down, and useful in that the point of the session was to stimulate plenty of rentals. I assure you Martin was not a plant and his presence online was a complete, yet very happy, surprise’

Our thirty minutes ran its course, with Pam and I keeping up a dialogue, whilst watching for Sandy and Scott’s comments to guide us. It was a fun session and the whole thing can still be watched online and I will post the link at the end of this article.

I was still buzzing with adrenaline when we finally signed off, and it took quite a while to get to sleep. It had been a fun day and I think we honoured the anniversary of A Christmas Carol in a suitably celebratory fashion.

On the next day I left the hotel after a large breakfast and headed home to be with the family for a few brief hours before setting off to perform my final show of 2020. Once again this was a new venue to me and an unusual one at that! I had been booked by a friend of many years (I was going to say an old friend, but that is ungallant), who works as an event promoter. I had first met Paula when she worked at a theatre in the Oxfordshire riverside town of Henley and had booked me to perform Mr Dickens is Coming and The Signalman. We have kept in touch ever since and this year she contacted me to ask if I would perform A Christmas Carol as a dinner theatre show for her client: The Spice Merchant Indian restaurant. Dickens and an Indian restaurant do not seem to be a natural fit, but there was plenty of enthusiasm for the project and I was very happy to sign off my year in this way.

The drive to Henley from Abingdon is a short one, so I travelled in costume, admiring the beautiful Christmas lights which are adorning Britain more extravagantly this year than ever before. The room I would be performing in was long and narrow with tables on either side, so allowing for distancing I only had a single track to move up and down along.

The guests arrived and ordered their meals, before I performed chapters 1 and 2. As I performed so the waiters were carrying plates of food and drink, meaning that I had to be careful not to send a plate of Lamb Pasanda and Pilau flying with some theatrical and flamboyant gesture. I was however able to include some the waiters in the performance, one unwittingly becoming Dick Wilkins, Scrooge’s fellow clerk in Mr Fezziwig’s warehouse.

After a brief interval I returned to fisnish the story, taking care not to roam too far up the room this time as one table has an elderly and therefore vulnerable lady in their party and had asked Paula if I could not come quite so close to them during my show, a request which of course I honoured.

The show was another great success and after I had finished we spent a little time chatting in an informal Q&A until I packed up my things, said goodbye to Paula and drove away from my 2020 tour, which has involved 5 performances!

To view the online Q&A with Pam Byers visit my Facebook page: Dickens Shows

To watch my film of A Christmas Carol go to my website: http://www.geralddickens.com

Sharnbrook Mill Theatre

Tags

A Christmas Carol, A Christmas Carol film, Daisy Pulls it Off, QAVS, Sharnbrook Mill Theatre, Volunteers

Last Saturday I performed for the first time this year, and what a perfect venue it was to ‘open my account’. At the start of the year The Sharnbrook Mill Theatre contacted me and it was with great difficulty that we were able to find a date in the crowded Christmas season. As 2020 moved on so my diary began to empty with each confirmed booking being consigned to the dustbin with a line stroked through it, but Sharnbrook remained. With the cancellation of my American tour so the diary opened up completely and whilst other venues were falling by the wayside, Sharnbrook asked if they could change dates to one closer to Christmas. There was no problem there, I had plenty of time available!

Britain came out of lockdown but the celebrations of late Summer sent us straight back in again and for a while it looked as if my performances in Bedfordshire would suffer the same fate as the others, but the staff worked on, planning, hoping. Rather than leaving the theatre empty during those long months the volunteers (The Sharnbrook Mill Theatre is staffed entirely by volunteers) began a renovation process and the auditorium was filled with scaffolding as they installed air conditioning units and made much needed repairs to the fabric of the building.

By December the work was finished but there was still no guarantee that I would be able to perform, for the government replaced our second full lockdown with a tier system of restrictions: if Bedfordshire was in tier 3 then there would be nothing we could do. We all listened to the radio anxiously that day – the county of Kent, where I made my film and where I was also due to perform, was in 3 – another date lost, but Bedfordshire was announced as being in tier 2 – the emails started again. I booked a hotel which seemed to be close to the theatre and on Saturday 12 December I packed my car with all of my props and started my 2020 tour.

The theatre is, as its name suggests, in a converted mill building on the Great Ouse river. Having left plenty of time for traffic, I arrived slightly early so decided to drive to my hotel and get checked in. It wasn’t a long drive in any sense of the term, for in fact the two properties were next door to one another and the view from my room was of the rear of the theatre.

Having dropped my bags off I made the long car journey next door where I was welcomed by the extremely enthusiastic, dedicated and professional staff who run it. My contact was Brenda and her husband Gerry (another Gerald, there are not many of us), would be my stage manager for the evening whilst Mark would be running my sound. The stage and auditorium are in a a towering room which, judging by the long ago bricked up windows, was once four stories high. The roof was of wooden timbers which contrasted with the bright metal grid which held the lights. The stage was at floor level with the auditorium holding 187 on a good day (more like 50 in this time of social distancing regulations), rising in a gentle rake. At the back of the stage were flats representing old wooden panelling, which were created for the last production staged – Daisy Pulls It Off, an old favourite of mine that I have directed twice in the past.

I can’t tell you of the sheer sense of pleasure with which I laid out my chair, table, hat stand and stool and began a cue to cue tech rehearsal to ensure that the various sound effects and lighting cues all worked.

I retired to my dressing room, got into costume, checked that my pocket watch was wound and that I had a Victorian penny in my waistcoat pocket and waited for the audience to arrive: all of those little details which give me such pleasure when I am in a theatre.

Out front the staff in their full PPE visors were busily ensuring that the audience were safely admitted having checked temperatures at the door in that terribly aggressive and threatening gun-to-the-head stance that has become part of our lives now. The seats in the auditorium were marked with a cross or a tick and slowly the open seats filled up.

At 3pm I got the nod from Gerry and the show began. It was so good to be on stage again, to be bathed in theatrical light, to have space to move, to hear the response from the small, but enthusiastic audience as I guided them through Ebenezer’s somewhat interrupted night.

At the end of my performance it had been agreed that I would return to the stage to conduct a question and answer session, but before I could do that I had to wait back stage until those that wanted to leave had carefully been ushered from the auditorium. Naturally the pessimistic nature of an actor led me to assume that when I came back into the lights I would be greeted by an empty house so I was most happily surprised to find the large majority of the audience still in their seats. The questions that followed were fun, allowing me plenty of scope to tell my favourite anecdotes – you know the ones by now – but also to discuss the craft of staging the show. One questioner commented on my breaking of the fourth wall, that is talking directly to the audience rather than maintaining the character and scene within the set, and I was pleased that she appreciated this device because it is an important part of the stage show, as well as of the film. In the original text Charles Dickens uses the narrator’s voice in a very personal way, occasionally slipping in little asides as if he is sitting close to the reader guiding them through the story and I have always strived to capture that same approach on stage.

Between the matinee and the evening show all of the volunteers gathered to enjoy a supper of salmon and salad, followed by a delicious citrus polenta cake, all provided by Brenda. It was during this dinner that I learned more about the Sharnbrook Mill Theatre and the amazing team of volunteers that keep it afloat. There was a mill on the site from as long ago as 1086 but the oldest part of the current building was constructed in 1703. Milling ceased in 1969 and the building lay crumbling for a decade until it re-opened as a theatre in 1979.

Sharnbrook Mill Theatre is staffed and run entirely by volunteers who this year were awarded with the Queen’s Award for Voluntary Service, or QAVS. The QAVS is equivalent to the MBE and is the highest award a voluntary group can receive in the UK. Everyone connected with the theatre was justifiably very proud of this recognition but due to the extraordinary circumstances of the year had not yet been able to celebrate, so the day of my show was a perfect opportunity to pat each other on the back and raise a glass.

I felt extremely honoured to be part of these celebrations and to meet so many passionate, committed and utterly professional people. I very much look forward to returning to The Sharnbrook Mill Theatre in the coming months and to performing to a full house in the beautifully atmospheric audiortium.

To view my film of A Christmas Carol visit: http://www.geralddickens.com

Winterthur

Tags

A Christmas Carol, A Christmas Carol film, Amish, Astor, Downton Abbey, Gap PA, HF DuPont, Highclere Castle, Intercourse PA, Netflix, Queen Elizabeth II, Rockerfeller, The Crown, Vanderbildt, Winterthur

In a normal year I would be reaching the last few venues of my tour and over the decades these have tumbled around the schedule in various orders, giving me plenty of choice as to which one to choose from my online memory feed. Today it is Winterthur in the tiny state of Delaware.

The Winterthur estate was originally built by HF DuPont, whose family owned most of Delaware thanks to the fortune amassed through, firstly, gunpowder and then latterly petrochemicals. Nowadays visitors flock to the property and take tours of the house, wondering at the magnificence of life in an age that boasted the Rockerfellers, the Vanderbilts and the Astors, as well as the DuPonts atop the rich lists.

Such is the popularity of Winterthur that it was necessary to build a visitor centre a short distance from the mansion to meet, greet and feed the thousands of guests who flocked there, and it is this building that becomes my home during two days each December. Like so many of my venues I have been visiting Winterthur for many years and have a close relationship with the excellent team there – Ellen, who runs my shows and Barbara, who is in charge of the well stocked shop and whose office I use as a changing room. That office is a real highlight of being at Winterthur as Barbara has the walls covered in little cartoons which always make me laugh.

A visit to Winterthur doesn’t start when I leave the car in the huge parking lot and make my way to the visitor centre, it begins early in the morning, usually in darkness, often in sleet, rain or snow, when I leave my previous venue which has tended to be The Country Cupboard in Lewisburg during recent years. I make my way back along the Susquehanna towards Harrisburg and from there towards Lancaster and into Amish country where rumbling trucks are replaced by fragile looking gigs pulled by ponies.

The icy crags of the Susquehanna valley give way to gently undulating fields studded with silos as I pass through the suggestively named Intercourse (the name most likely came from the fact that the village sits at a cross roads and was therefore a site for meeting and discussions – I was going to write ‘debate’ but feared I would mire myself even deeper into innuendo), and on towards Gap with its quirky lighthouse-shaped clock tower. It is always a happy drive and one that is invariably accompanied by my Christmas playlist.

I drive through Chad’s Ford and passed the Fairville Inn guest house, which is my extremely homely and comfortable lodgings, before crossing the line from Pennsylvania into Delaware and turn off the road to make my way along the serpentine driveway which leads me ‘home’.

The actual venue for my shows is the Copeland Lecture Theatre, attached to the visitor centre, and which is one of the most remarkable rooms I have ever had the pleasure of performing in. It doesn’t have an impressive stage for it is very definitely a lecture theatre, it has some lighting but nothing really theatrical, it doesn’t have a balcony so the auditorium is very long. The hall has no particular history, and Charles Dickens never visited this area, so what makes the venue so special to me? A carefully designed and shaped ceiling, that’s what. The acoustics of The Copeland Lecture Theatre, created purely by the shape of the room, are beyond compare and I can speak in my normal voice from the stage and know that the people sat in the furthest reaches of the room can hear me quite clearly. It took me many years to have confidence in the room and many was the time that I would walk onto the stage and look at the sea of faces diminishing towards a far distant vanishing point and doubt that I could do the show without electronic aids, but I always can.

Of course a perfect hall is nothing without an enthusiastic audience, and the people who come to Winterthur in their Christmas sweaters and warm scarves are always a lively and fun bunch who join in loudly and applaud long.

One particular pleasure of my visits to the Winterthur estate has been the opportunity to view two amazing exhibitions of costumes. During the years that Downton Abbey was popular, Winterthur forged close ties with Highclere Castle (where I also perform), and welcomed Lady Carnarvon on a number of occasions to speak about ‘The Real Downton Abbey’. In 2014 a major exhibition of costumes from the series was opened and early one morning I was able to have a special tour. It was a brilliantly curated exhibit displaying each costume in front of still photography, copies of scripts and video clips. With the ending of Downton so Winterthur turned its attentions to the next big British drama and mounted another exhibition, this time featuring The Crown, Netflix’s drama based on the life of Queen Elizabeth II. Once again I was snuck in before opening and marvelled at the craftsmanship and accuracy of the beautiful creations, ranging from the coronation regalia to Princess Margaret’s swinging 60s dresses.

Maybe one day they will mount an exhibition of costumes from my show, although I do admit they will only need a very small room! At least in my film version of A Christmas Carol I wear two different waistcoats and two different cravats, but I grant you it may not be the most thrilling experience. Perhaps I should just stick to performing in The Copeland Hall where I hope to be in 2021.

To rent my film and to view BOTH costumes, go to: http://www.geralddickens.com/films.html

Luxury! The Café Royal and The Williamsburg Inn

Tags

A Christmas Carol, A Christmas Carol film, Colonial Williamsburg, London, Regents Street, The Hotel Café Royal, The Queen of Englnad, The Regency Room, Williamsburg Inn

This week the British government announced new lockdown measures which place London in the very highest tier of restrictions. Many people’s work and social lives will be affected by this measure but it was absolutely necessary as the infection rates in the capital city were doubling every five days and beginning to spiral out of control. For me this has meant the cancellation of eight shows over the course of the next week which were due to be performed in one of the most prestigious locations in the city: The Hotel Café Royal on Regent’s Street. The relationship with the Café Royal is a new one for this year and together we were greatly looking forward to entertaining guests with my performance of A Christmas Carol whilst they ate a sumptuous afternoon tea in the spectacular gilded and mirrored surroundings of the Oscar Wilde Lounge.

We are very hopeful that we can reschedule, and perform early in the new year, so watch this space!

The disappointment of the loss of my opportunity to experience the luxury of the Café Royal was slightly mollified by today’s phone memory photographs, for this was the day a few years ago when I was performing at one of my favourite USA venues: The Williamsburg Inn in the heart of Colonial Williamsburg.

The Inn is a truly elegant and spectacular hotel with surroundings and service of the highest calibre. Each suite (no such thing as something so mundane as a ‘room’ there) is different and furnished with items of antique furniture, whilst soft music purrs from a Bose sound system. Coffee makers sit ready to fill tiny china cups which will sit on tiny china saucers. The bath tubs are the size of small swimming pools and the towels are soft and fluffy. I have visited Williamsburg for many many years now and have formed a great relationship with the staff, as well as with the guests who return each year to watch my shows.

Any stay at The Williamsburg Inn is special but on a few occasions I have been very fortunate to be given the suite that was used by the Queen herself when she visited in 2007. Oh what luxury! As I entered and walked from room to room I imagined the Queen doing the same: Her Majesty sat on that sofa, she wrote at that desk, she slept in that bed, and in the bathroom….no, I couldn’t allow myself to imagine her in there!

As would have happened at The Café Royal I always performed during a meal service at the Inn, either afternoon tea or dinner, and all of the events were held in the beautiful Regency Room. My ‘stage’ is on the dance floor in the centre of the room and the tables are set all around meaning that I can roam and run into the audience and even cajole individuals to become part of the story, which is always fun.

I have may close friends in Williamsburg, most especially Ryan Fletcher – a gentle giant who always made my introductions at the beginning of each performance. Ryan is an opera singer, who passes his great knowledge and skill to students at the nearby William & Mary College. Ryan and I have shared many convivial evenings discussing life on the road and on occasion we have been fortunate enough to be joined by his wife Jeannie, and also Liz who for a few years was able to fly from England to join me for the last week or so of my tours and share the luxury of The Williamsburg Inn.

A few years ago I was asked to do a photo and video shoot for the marketing team at Williamsburg, the team set me up in one of the lounges where I was surrounded by lights, flash units and reflectors. Would I mind simply reading from A Christmas Carol while they captured the footage that they needed and during that afternoon my show changed completely.

As I relaxed into an armchair I realised that the a simple telling of the story was much more effective than the overly dramatic way I was currently utilising. I used to be scared if I didn’t get emphasis from every single word, so a passage of charming dialogue was used like a sledge hammer to batter my audiences into submission: EV-ER-Y SYL-L-A-BLE WAS EMPH-A-SISED TO MAKE IT MORE DRA-MA-TIC! There was no light and shade. For that evening’s show I decided to try in a new style and the show was transformed, it became much more personal and re-captured the beautiful device that Charles Dickens used to place the narrator at the reader’s shoulder. It is for this reason that in the film version I have used lots of narrative direct to the camera.

So, my 2020 Christmas season has been culled a little further but there are still two events that have survived: in Liverpool and Henley. keep your fingers crossed!

To watch my film version of A Christmas Carol go to: http://www.geralddickens.com/films.html

Back to the Stage and a Muppet Inspiration

Tags

A Christmas Carol, A Christmas Carol 2020, Fozzie Bear, Kermit, The Muppets, The Sharnbrook Mill Theatre, Tiny Tim

On 23rd December, 2019 I stood on the low wooden stage of the ancient Guildhall in the heart of Leicester, I looked at the audience and began the last sentence of A Christmas Carol, ‘And so, as Tiny Tim observed, God bless Us, Every One!’ and to that I added, ‘Have a very merry Christmas’ The audience applauded loudly and I took my bows before leaving the stage and changing out of my costume. Christmas was upon us and I would be returning to my family the next morning after many weeks of being on the road. Another season of performances was over.

It seems extraordinary to look back on that evening now, almost a year later, and think that it was my last time on stage. In January and February Coronavirus began to spread throughout the country and by March everybody’s lives changed beyond all recognition as the first period of lockdown was imposed upon us.

But now on Saturday 12th December, 2020 I am preparing to perform A Christmas Carol once more and I have to say I am quite nervous about it!

Those of you who follow this blog will of course know that I have performed ‘The Carol’ this year, by making my brand new film version of the show. What’s that you say? You didn’t know? Goodness I must have been remiss in not mentioning it in this forum before. Well, if you visit http://www.geralddickens.com/films.html you will be able to rent the film for seven days and watch it as many times as you like. There, I’m glad that I have cleared that one up.

So, with the filming in October and November, I have spoken the words of my scrip and I have re-found the voices and expressions that bring each character to life, but running it all together in an 85 minute show is a different matter. For the past few days I have pacing up and down, throughout the house and in the local supermarket, muttering lines to myself, dwelling over passages that don’t quite flow as they should.

Last weekend I introduced our daughters to A Christmas Carol as we sat down together to watch The Muppets do their thing, and it was fascinating to watch the film itself (which actually is a very useful resource for the script is very much grounded in Dickens’ original text) through the eyes of someone who has NEVER heard the story before. In a way watching my 8 year old’s reaction gave some insight as to how the citizens of London must have felt on December 19 1843, the day on which the book was first published. As Gonzo, Kermit, Fozzie and Miss Piggy told the story I expected my daughter to giggle and laugh manically, but throughout the film she asked questions about Scrooge and the plot as it unfolded, trying to make sense of the fantasy world that our ancestor had drawn us into. Her main concern was an interesting one, it wasn’t about Tiny Tim, or about Scrooge’s schooldays, she was most upset by the fact that Ebenezer never married the girl he truly loved. We see that Belle finds her own happiness , but Scrooge’s loss is permanent – in fact this is the only factor in his journey that is not resolved in some way.

Anyway, during our movie night I was sort of going through my script in my head along with the felt cast and at the point that Scrooge is cowering by the graveside with the Ghost of Christmas Yet to Come standing over him I had a realisation that there is a line from the novel that I MUST introduce to my script – a very sensible realisation to come to when I haven’t performed for 11 months! The line in question is: ‘Men’s courses foreshadow certain ends to which, if persevered in, they must lead, but if the courses be departed from the ends must change. Say it is thus with what you show me spirit.’ The line is so important to what comes next and I have no idea as to why I have never included it before.

For the last few days I have concentrated on getting the new line well and truly wired into my brain, and then running the whole scene over and over (hopefully not to the detriment of the rest) to make sure that the lines around it aren’t affected by it either.

Now, on Saturday morning, I think that it is ready to be taken on the road with me.

The theatre for the great comeback is a new one to me: The Sharnbrook Mill Theatre, and it was only a week or so ago that I knew for certain that we would be good to go, as it was then that the UK government announced the various tiers of restrictions throughout the country. In fact my first show should have been on the 9th December in Kent, but that county was placed under the highest restrictions (Tier 3) leading to the cancellation of the performance. Sharnbrook fortunately is in Tier 2 and although the show will be presented with strict social distancing measures in place we are good to go.

The staff and volunteers at The Sharnbrook Mill Theatre are a persistent group and actually we first talked about a show way back in 2019; ever since they have reeled me in as an expert salmon fisherman might land a catch. The show is sold out for two performances, each followed by a question and answer session from the stage.

At 3 o’clock this afternoon I shall walk to the centre of the stage and as the sound effect of a ringing church bell dies away I will say – ‘Marley was dead to begin with’, and in doing so will breathe a tiny bit of life back into live theatre once more.

The Country Cupboard in Lewisburg and The Bogata

Tags

A Christmas Carol, A Christmas Carol 2020, Casino Royale, Ebenezer Scrooge, James Bond, Las Vegas, Liverpool, Macau, Monaco, Pennsylvania, Susquehanna River, The Bogata Casino, The Country Cupboard

Being guided by my Facebook and OneDrive memory bank has meant that for a few days there has been nothing new to describe, as all of the posts have concerned the venues that I have already described: Nashua, The Berkshires, Omaha and Kansas City, but today a new one popped up: The Country Cupboard in Lewisburg, PA.

The Country Cupboard is a an amazing complex of destination, gift store and restaurant, the latter which offers the MOST SPECTACULAR buffet. I perform in a large function room on a wide stage, well lit and furnished, therefore giving me plenty of scope to play every scene properly. In my early years there the performance would be to a cabaret style audience, sat at large tables, but in recent years we have moved to a more traditional theatre setting. The audience are always enthusiastic and join in at the appropriate moments with great gusto, for many have seen the show multiple times and know when to, and more importantly when not to, shout out.

As with all of my venues there is a small group of people that I work with at The Country Cupboard and we have become a good and close team over the years. Firstly there is Missy who runs the whole show with quiet efficiency, juggling my various needs with those of the huge audiences all of whom need to be fed at the buffet before being marshalled into ‘the theatre’ in time for the show to start. Missy always pays huge attention to detail and remembers exactly what is needed, for example one year I had a scratchy throat that needed soothing and I asked it were possible to have a cup of black tea with some honey before the show and now, every year when I arrive in the store and stand at the back of the room, watching the audience gather, there will always be a cup of tea and honey waiting for me. The other arm of our Lewisburg triumvirate is Kj Reimensnyder-Wagner a singer and songwriter who entertains the gathering crowds before the show. Kj has such a peaceful and gentle touch as a performer and soothes away any anger or frustration that may be welling up in the audience with her chat and beautiful voice. We make a good team, the three of us.

But the Lewisburg experience is so much more than the performances at The Country Cupboard, for the journey there has become a hugely important tradition for me. I will usually be driving from the south of the state, through Harrisburg and then hugging the banks of the beautiful Susquehanna River as I drive north.

The drive is an impressive and familiar one to me now and I look out for little landmarks along the way: there are the amazing long bridges crossing the river, which Charles Dickens vividly described in American Notes when he visited the city in 1842, and there is the strange replica of the Statue of Liberty which sits on a crumbling parapet which once supported a bridge but which long ago fell into the waters. The current statue is made of metal, but the original Harrisburg Lady was made as a prank in 1986 out of old venetian blinds!

Further on I always make sure I stop at the little township of Liverpool where I can walk to the river’s edge and take photographs.

Pennsylvania is regarded as a microcosm of America as a whole in that the state boasts large liberal affluent metropolitan areas such as Philadelphia, but also swathes of rural farmland and mountainous hunting regions. The drive to Lewisburg encompasses pretty the whole range of demographics.

I am always afforded a warm welcome when I arrive and I stay in a small hotel next to the store. I always have the same room with its little kitchen area and a huge whirlpool bathtub in which I can relax between the matinee and evening performances. Everything about performing at the Country Cupboard is familiar and easy and above all FUN!

Another venue that appeared on my memories was from longer ago: my two years at the Bogata Casino in Atlantic City, on the New Jersey coast. I am not a gambler and never have been, so casinos hold a sort of unreachable and dangerous fascination to me. I have visited Vegas in the past (officially I can say I played on The Strip) as well as Monaco and Macau and each time I have felt as if I had landed in an alien environment. If someone made me sit at a gaming table I wouldn’t have known what to say or do. It is strange therefore that one of my favourite opening passages to a book is set in such a setting:

“The scent and smoke and sweat of a casino are nauseating at three in the morning. Then the soul-erosion produced by high gambling – a compost of greed and fear and nervous tension – becomes unbearable and the senses awake and revolt from it.”

I was invited to The Bogata not only to perform but also to make a special guest appearance, in the character of Ebenezer Scrooge, at a huge holiday party thrown for the high rollers who had won and lost big during the year. The party was a celebration of wealth and greed and during it huge swathes of cash and prizes were handed over in thanks (as one of the directors whispered to me it was no skin off the nose of the casino for most of the money would be handed back over the tables later that night.) Usually old Ebenezer is a figure of fun but on this occasion he was there to be admired for his singular pursuit of wealth. I have to say the whole experience didn’t sit comfortably with me.

What I did enjoy at The Bogata, however, was the theatre itself: a huge space akin to one of the theatres on a cruise ship and packed with every technical gizmo that I could wish for: lighting of all moods and colours, as well as dry ice that would seep across the stage like ghostly fingers groping toward the audience.

I had asked if we should perform the show in two acts but the staff said definitely not for if we let the audience out in an interval they would head straight for the gaming tables and slot machines and we’d never see them again!

The Bogata was never destined to be a constant on tour, in the way that Nashua, Sutton and Chalfont are, but my two years there certainly opened my eyes and were an amazing experience.

Back in 2020 the season moves on and I am getting ready to actually perform at the weekend. Over the next few days promotion for the film continues with a series of interviews as well as some Q&A sessions with various organisations around the globe. Exciting times, indeed and in a few days I will be able to announce a new collaboration which means a great deal to me.

For those who are unable to see my show this year don’t forget that the film version is available on Vimeo throughout the Christmas season and is available via my website:

http://www.geralddickens.com/films.html