A Child’s Journey to Sturbridge

Tags

A Christmas Carol film, Charles Dickens, Dickens and Staplehurst. A Biogrpahy of a Rail Crash, Dickens Fellowship, Mark Twain, Old Sturbridge Village, The Signalman

Although my Friday alarm was set for 5.45 I woke before it and so it was easy to get ready and leave my room by 6.30. I had a three hour drive ahead of me and I was keen to get to Massachusetts by about 10am, therefore I decided to forego a hotel breakfast (as regulars know, this was a painful thing to do) and just grab something on the road. The traffic heading towards New York City was very heavy, even at that early hour, so it was as well that I left when I did.

I crawled and edged and trundled and inched and lumbered and crept, in fact I went so slowly that I would have had time to read a thesaurus if I’d had one to hand. Eventually I was passed New York and the heavy traffic was now filling the opposite carriageway and I could speed up and head towards New England. This is a journey I have done on many occasions, in one direction or the other, and it always brings to mind Charles Dickens’ American Notes, as I pass many of the cities that he visited and commented on.

After a while I pulled in at a service station and had a Panera Bread breakfast of oatmeal and fruit and a pastry, washed down with orange juice and coffee, before getting back into the Rogue and continuing north.

My destination was Old Sturbridge Village, a living museum near Worcester. I have heard a lot about it over the years but have never had the opportunity to visit, and on Friday I was to perform there. I made good time and pulled into the large car park a little after 10. My contact at Sturbridge was Ellen Taviano, with whom I have worked for many years at Winterthur House and Gardens in Delaware. Thanks to staff layoffs and changes during the pandemic, Ellen left Winterthur and took up a position at Sturbridge, heading up the retail operation. Having enjoyed such a close and successful relationship in the past she was keen to get me to to the museum to perform and the September tour proved to be the perfect opportunity. When I arrived, I left a voicemail on Ellen’s phone and made my way to the visitor centre, where the staff welcomed me and showed me into the empty auditorium where I was to perform. I say ‘I was to perform’, but actually I should say ‘where we were to perform’ for today I would be sharing the stage with fellow actor Jennifer Emerson, and this is the day I have been working towards and, yes, sometimes fretting over throughout the tour.

I took a look at the stage and saw that Ellen had placed a few articles of furniture for our set, but some were not quite right, so I took a look back stage and was delighted to find all sorts of bits and pieces that I could chose from Firstly, I pulled a few bits out, and brought them to the stage and as I did a lady dressed in an elegant Victorian gown entered the theatre, and this was Jennifer.

Jennifer has a long history in working at museums, interpreting characters and performing a series of her own one-person shows (including her version of A Christmas Carol). She has worked in costume and has directed and taught and is generally a very talented and committed go getter, and is also a member of the Dickens Fellowship.

When Ellen had chosen the shows for my visit she had asked for The Signalman (as she ordered plenty of my books), and A Child’s Journey With Dickens, which she had seen me perform at Winterthur. As soon as I saw that on the schedule I got in touch with Bob and suggested that we ask Jennifer to be involved. The performance is based around a speech made in 1912 by Kate Douglas Wiggin recounting the day that she met Charles Dickens on a train bound for Boston. The speech was made when Kate was 55, but the train journey had taken place in 1868, when she had been only 11, and the show features her at both ages. Now, I have performed it, with a degree of success in the past, but really? A balding, bearded Englishman trying to convince a New England audience that he is an 11 year girl from Maine is pushing it somewhat. Back in 2021 the Dickens Fellowship had asked me if I could give a Zoom performance, and I had suggested A Child’s Journey performed on the anniversary of the meeting on the train. One of the positives of the Covid pandemic was that it shrank the world, and people were suddenly communicating in ways that they had never realised possible. This extended to performance, and Id contacted Jennifer to ask her if she would like to work with me on the project. We developed a script together using purely archive material – letters, newspaper articles, memoirs, and of course Kate’s speech itself. As the story involved Dickens’ reading tour, we also featured a scathing review of one of his performances written by Mark Twain. Again the shrinking world had enabled me to ask yet another performer, Mark Dawidziak (who ‘does’ Twain), to record the piece for us – this was going to be a show performed by three actors each of whom specialised in performing on their own! The Zoom performance had been a great success and at the time I had said to Jennifer if there was ever a chance to actually perform it live, then we should grab it. Old Sturbridge Village was that chance.

We didn’t change the script very much, but had to think about how we would actually stage it. The idea was to have a lectern at one side of the stage where Jennifer would give the speech, as if addressing the guests at Delmonico’s restaurant in 1912, and on the other side would be a desk where I would sit as Dickens, writing letters about the tour, which were slipped into Kate’s dialogue at suitable moments. For example at one time Kate recalled praying fervently that Dickens didn’t suffer the pangs of seasickness as he sailed to America, and on that line I would recite two letters that he wrote from the SS Cuba as he sailed across the Atlantic detailing rough weather and sickness throughout the ship. The writing desk was angled away from where Kate stood, meaning that there was absolutely no connection between the two characters, until the key moment when the child Kate saw Dickens on the train, at which point we both sat next to one another on a small bench at centre stage, representing a seat in the railroad car.

When Jennifer arrived we continued foraging for the perfect furniture and when we were satisfied we started a rehearsal, our very first run through together. It went well, we both fumbled a few lines, but the the basic setting and idea seemed to work perfectly and we retired to the green room behind the stage in a state of great excitement

At 1 o’clock Ellen came to check that we were ready and then went to the stage and introduced us both and we emerged to applause. I welcomed everyone and made a very brief introduction to the show, and then introduced Kate as if I were chairing the meeting of the New York Dickens Fellowship in 1912. And so the show started. Oh, it went well, Jennifer had adopted two very different personas – the 55 year old Kate who had spent a life in education especially in the field of the Kindergarten movement, had a a teacher’s voice and demeanour, direct, factual but kindly, but as soon as she was on the train she became the 11 year old, excited fidgety, crossing and uncrossing her ankles, and gazing at her idol, Charles Dickens. I knew that all of this working superbly, although I could not see her performance as I was turned away, thanks to the laughter and joy coming from the audience. When it came to the moment that she precociously sat next to Dickens and he first saw her there was an instant connection between the two character. The audience responded wonderfully and laughed at all of the appropriate places (including during the Twain voiceover, saying of Dickens ‘His pictures are hardly handsome, and he, like everybody else, is less handsome than his pictures!’ Ouch.

Laughter turned to tears as Dickens asked Kate if she had wanted to go to his reading very much, and she had sobbed, ‘yes more than tongue can tell’ causing Dickens to cry also. Both Jennifer and I had tears in our eyes and we could see members of the audience wiping theirs too.

The applause at the end was wonderful and we knew that we had created a very special show which had worked just as we’d imagined it.

With all of the concentration and nerves that had surrounded the first act, it would have been easy to forget that I had The Signalman to perform in the second half and it required quite a mental re-set to get myself prepared for that. Actually I gave a very good performance of it, I think. It was dramatic and tight and the lines flowed well. The audience were hooked and applauded loudly when I had finished. During the applause I gestured to Jennifer (who had taken a seat in the auditorium to watch) and the clapping increased again as we both took more bows.

What a wonderful success.

After the show Ellen took me to the gift store for a signing session and it was wonderful to see many people who had come to see me in shows at other venues over the years. One man showed me a picture of me posing with his sons and said ‘Yes. that was seven years ago: look how young you look!’ Thanks!

When the signing was over I went to find my accommodation for the night. Sturbridge had built a small collection of cabins which were originally to be hotel accommodation for visitors to the museum, but Covid closed them and now they are used for staff, professors and visiting entertainers. My room was large and very comfortable and I slumped onto the bed and dozed a little for an hour or so, before it was time to return to the theatre and get changed ready for the second performance. After a while Jennifer appeared (she had stayed in costume, so hadn’t needed to arrive as early as I), and we chatted about the first show and how it had been received.

Soon Ellen appeared once more to check that all was well, and the evening show was under way. It was a larger audience than the afternoon, and once again they followed the story with rapt attention. I would say that at both performances it took a little while before everyone accepted the premise behind our performance, but it didn’t take long until they were fully involved and were laughing and crying. Once again our closing bows were met with a standing ovation.

The Signalman was also superbly received, and my most unsubtle plugging of the book was greeted with loud laughter, even applause. What a wonderful, and exciting day, and what a superb way to end what has been a difficult tour, not because of the schedule, or the venues, or the shows, but because I had wanted to be at home in England. I had wanted to file past the Queen’s coffin in Westminster Hall with Liz so that we could pay our respects to the only Monarch we have ever known; to be part of the national mourning. My home-made black arm band had been a token of my respect, but I had so wanted to do more.

After another signing session where many friends came to say hello, including Gary and Judi Vaillancourt, I returned to the theatre, got changed and collected all of my props, with the exception of the danger light, which would be collected by someone, sometime. Ellen had booked a restaurant for her, Jennifer, myself and her colleague Jacqui who had been helping with the lights and changing the set between shows. We had a lovely dinner, although conversation was awkward due to a singer who was performing throughout the evening. He was very good and had a wonderful set of songs, but with my tinitus it made hearing conversation extremely problematic.

The restaurant was emptying as we finished our dinner and it was clear that they wanted to close, so we said our goodbyes and headed back to our respective homes and lodges.

Saturday

On Saturday I would be flying home, but the morning was taken up to roaming around Old Sturbridge Village, and what an amazing place it is. The attraction was opened in 1946 and featured various historical New England buildings that had been dismantled and moved to the site. Now it covers 200 acres and features 59 properties. There is a blacksmith, a pottery, a cooper and various mills, all working. There are farms with cattle, sheep and pigs, there are demonstrations of 19th century cooking and crafting, and all in all it is a fascinating place to spend a day. On Saturday the sun shone, and I not only visited all of the properties, but also took the trails into woods and across pasture – I even ran a little.

After lunch it was time to head to the Logan Airport in Boston and board a 777 to fly home to a different England to the one I left 10 days before.

A Debut for a Waistcoat

Tags

Abel Magwitch, Anthony Gormley, Castleford, Charles Dickens, Fire, Gateshead, Great Expectations, Jury's Inn, Just Giving, Miss Havisham, Mr Dickens is Coming, Newcastle, Oxford Half Marathon, Pip, The Angel of the North, The Word, waistcoats

As summer turns to autumn my thoughts turn to a series of trips to America, but before I fly to Jacksonville on Thursday, I had one performance in Britain. I was returning to The Word, the magnificent National Centre for the Written Word in the north eastern city of South Shields.

In a remarkable attempt at efficiency I had decided to load the car the day before and had even created a spreadsheet with all of the props and costume pieces that I would need listed and a little check box waiting to be ticked next to each. I was due to perform Great Expectations and of all my major shows this one probably has the smallest set, meaning that packing the car is a relatively quick process, albeit one that always leaves me with the feeling that I have forgotten something. But, I had checked all of the boxes on my list, so it was all OK.

South Shields is tucked away in the far North Eastern corner of England, not far from the Scottish border, indeed just over the River Tyne is the town of Wallsend which marks the end (and also, presumably, the beginning) of Hadrian’s Wall. The drive from Oxford is around 4 1/2 hours, and allowing for a couple of stops for lunch and leg stretching I needed to get on the road at about 10.am.

Last time I drove to The Word I suffered a puncture within 20 minutes of starting and had to carry out a tyre change in the darkness and rain, so I was relieved that this year the journey was smooth and adventure-free. I listened to some podcasts and coverage of the morning practice sessions from the latest Grand Prix weekend, and in between took the time to run the lines of Great Ex. which still resolutely refuse to permanently in the way that the words of A Christmas Carol and Mr Dickens is Coming! do.

I stopped for lunch at a motorway service station and as I returned to the car I thought I would just check my costumes, which were hanging over the passenger seat, and to my horror I realised that I had failed to include a fancy waistcoat, despite ticking the relevant box. The costumes of Great Expectations lead from ragged at the opening (representing the convict Abel Magwitch and the Spartan life of the Gargery family in their tiny forge,) to a slightly old fashioned tail coat in which young Pip is sent to meet the intimidating Miss Havisham. At the end of the first act Pip is informed that he is to receive a huge income and be raised a gentleman by the largesse of an unknown benefactor (assumed to be Miss Havisham, of course) and at that point he changes into expensive and extravagant clothing.

As I drove on I debated as to how I could sort this problem out and decided I couldn’t really get away with wearing the very drab and plain waistcoat from the first act, so began looking for a shopping centre along the route where I could maybe find a store where I could purchase a fancy waistcoat – a wedding supplier would be perfect. In the end I found an outlet village in the Yorkshire town of Castleford and made my way in.

There used to be a television in the early 90’s programme called ‘Challenge Anneka’ in which the host, Anneka Rice, would leap out of a helicopter and try to find some equipment or products to complete the week’s challenge (usually refurbishing a community centre or school). She would run around shouting to anyone who happened to be present, ‘where can I find a timber merchant? Hello! can you help, I need a supply of timber, can you tell me where I need to go?’ and off she would run with camera crew in tow. Well, I felt a little in the same boat as I arrived at the crowded mall and I wanted to grab passers by and shout ‘Waistcoats, I need colourful waistcoats, help me, where is a waistcoat shop, can anyone help?’ Fortunately for the residents of Castleford the very first shop I saw was a men’s outfitters called Eden, and I thought I’d make a start there. At the very back of the shop I found a very smart double breasted waistcoat in a midnight blue with a pale check across it. Although not garish and bright, it exuded a sense of style and actually reminded me of one of the waistcoats that Dickens himself wore, and which was highlighted in the recent exhibition at The Charles Dickens Museum ‘Technicolour Dickens’.

Fortunately they had my size and, being an outlet centre, the price was very reasonable, so I bought it on the spot and resumed my journey north with a sense of relief.

I was due to stay in a hotel at Gateshead, on the banks of the Tyne, and just had time to check in , before continuing my journey along the river to arrive at the magnificent cylindrical building that houses The Word. I have performed at The Word on three previous occasions, so I know the form, which is to ignore all accepted traffic laws and drive up onto the pavement and park outside an anonymous looking door, through which my props can be easily carried to a lift. I was greeted by Pauline Martin and together we emptied the car before I could go and park a short distance away.

When I returned, Pauline had kindly loaded the lift and got everything to the top floor and all I had to do was to set the set, which involves draping and dressing a white hat stand to represent the figure of Miss Havisham and placing a few bits of furniture, as well as carefully leaving some items of costume on stage that are required during the first act (including my new waistcoat which was due to make its debut without rehearsal…).

It was an early start, 6.pm, and at 5.30 Pauline asked if she could let the public in and I retired to my little backstage store room to change and prepare for the show. From what I could hear there was a goodly-sized audience gathering and I was keen to begin. The problem with the room at The Word is that it is not a particularly theatrical space, especially as regards to lighting. Pauline had told me that when the building was built they had been promised spot lights, but that they have never materialised, meaning that the choice is strip lighting on, meaning my face is illuminated but so is the rest of the room, or strip lighting off, meaning that my face and figure is in shadow. We went for lights on.

At 6 o’clock I hid myself behind the stage and waited for the voiceover taken from the opening passages of the book to finish and then bounded onto the stage in the guise of Abel Magwitch: ‘Hold your noise, or I’ll slit your throat!’

Great Expectations takes quite a bit of concentration from the audience, and I am always a little concerned that it may not work, but the crowd in The Word followed every scene intently, meaning that I could tell the story without further worry. As I came towards the end of the first act I arrived at the moment when Pip has to change into his new smart London clothes, and so I picked up the new waistcoat. There was one problem in that whilst the fabric of the garment itself is suitably traditional, the lining is VERY garish and modern. This wouldn’t normally be a issue, but as I had to actually put the thing on, I couldn’t help the audience getting a glimpse of modernity. Maybe in the future I will get somebody to make a plain lining, but for now it did a good job and I was proud of its debut.

The end of the act arrived and the applause was long, loud and greatly appreciated. During the interval I changed properly (the ‘posh’ clothes are simply put on over the rough costume in the final scene of the act) and then snuck back to the stage as surreptitiously as I could, to remove a few props and discarded pieces of costume, before waiting for Pauline to give me the nod that Act 2 could begin.

The second half was as successful as the first and when I left the stage as Pip holding hands with Estella (my ending is based on Dickens’s second version, rather than on his terribly downbeat first attempt), the applause was once again very generous in both volume and longevity, and Great Expectations had hit the mark.

I took my bows and then changed and started to pack up my props and costumes. By the time I re-emerged onto the stage most of the audience had departed, but a few folk were still in the room and came up to chat, congratulate and pose for selfies before they headed down in the lift.

Various staff members at The Word helped me to get all of my stuff downstairs while I fetched the car and drove it up onto the pavement once more. I said my goodbyes (hopefully I will be back next year, possibly in March to celebrate World Book Day), and drove back to Jury’s Hotel in Gateshead.

The great thing about starting a show at 6pm was that the hotel restaurant was still serving food when I returned, and I was able to sit in the bar and have a piece of chicken roasted with lemon and thyme and wind down slowly.

I didn’t sleep terribly well through the night: fitful describes it, but towards morning I was beginning to doze off when suddenly the fire alarm went off screeching loudly in my room and flashing a red light, meaning I had to vacate the room, follow the green emergency exit signs and make my way down to the street with all of the other guests, where we waited for about half an hour as two fire engines arrived and investigated.

Fortunately there was no inferno, or even a smoulder, and we were allowed back to our rooms to catch a few more winks until the breakfast service began.

I treated myself to a ‘full English’ (ignoring mushrooms and black pudding) from the buffet and sat at a window seat looking over the Tyne towards the city of Newcastle on the opposite bank.

My fast suitably broken I packed up my bags and began the drive home, making sure I drove past Anthony Gormley’s amazing Angel of the North sculpture that towers over the A1 road. It is always a lovely experience to be in the North East and I shall be back in Newcastle in November to perform A Christmas Carol at The Literary and Philosophical Society.

And now thoughts turn to two important projects, the first being my trip to America during which I will mainly be performing the double bill of The Signalman and Doctor Marigold at a variety of venues. At my very last stop, however, I am due to perform A Child’s Journey With Dickens, and was able to ask the venue if I may share the stage with actor Jennifer Emerson. Jennifer and I gave a Zoom performance of the piece last year, during which she took the role of Kate Douglas Wiggin whilst I played Dickens, so I was especially keen to reprise our performance whilst actually being in the same room, city, state, country and continent!

The other event which is looming ever larger is the Oxford Half Marathon which is to be run on 16 October. I have been in training for a few months now, and need to make sure that my efforts don’t flag, even though I am travelling and performing. When our daughters go back to school next week I shall make sure I get a few runs in, and hopefully a few in America too, even if that means availing myself of treadmills in various hotel gyms.

You will remember that I am running the race to raise much needed funds for Brain Tumour Research, and as an extra event I have scheduled a performance of Mr Dickens is Coming on 7 October in my home town of Abingdon with all profits going to my JustGiving page.

Please do support me in my efforts, you can donate to the fund by following the link at the end of this post. I am so grateful to all of those who have donated already and am keen to raise as much as I can for a cause that has had such a big impact on the life of Liz and me this year.

I shall let you know how the training is going in another post soon.

https://www.justgiving.com/fundraising/geralddickens

If it’s August it must be…..

Tags

Charles Dickens, Llandrindod Wells Victorian Festival, Mr Dickens is Coming!, Nicholas Nickleby

There are certain events in my schedule that mark the never-changing progress of the year – some are important dates for their historical significance and may, or may not, be linked to a performance (specifically February 7 and June 9 being the dates on which Charles Dickens was born and died respectively). The great Dickens Festival in Rochester is always held at the end of the spring half term, whilst Thanksgiving Day in America sees the start of my main tour of the United States. But there is another event, without which my year would seem fractured and incomplete: the Victorian Festival in the Welsh spa town Llandrindod Wells, which takes place during the second half of August.

I was introduced to Llandrindod many years ago by my good friend David Hawes who, although based in Kent, worked with the festival organisers to bring a flash of pizzazz and theatricality to the event. David has always been a great champion of my work and many of my current venues are thanks to his influence and powers of persuasion. Back in 2014 he looked at the Llandrindod festival programme and reckoned that one of my shows would fit in well, so he made sure that the committee booked me to perform at the perfectly named ‘Albert Hall’

I took to the festival straight away and have been returning ever since, meaning that August wouldn’t be August without driving to mid-Wales. Like so many events the LLandrinod festival suffered greatly during the two Covid years, but this year it was back – alive and kicking. The event has relied for many years on a group of both locals and visitors gathering, dressing in Victorian costumes and attending a series of themed events, talks and shows. The town boasts a wonderful small green, complete with a bandstand, and this has become the focus of the activities. In past years there has been a small funfair, a craft fair and some sideshows to provide entertainment for the locals who may have otherwise felt excluded. This year the committee had included a series of non-Victorian events to further boost the appeal, including concerts featuring Dolly Parton, Tom Jones and Witney Houston tribute acts (not to mention that well known Charles Dickens tribute…I must think of a suitable pun-laden name for my act). At the town’s large lake, nestling in the valley, a series of children’s piratical adventures was laid on, featuring treasure hunts and it seemed to me that the town itself was beginning to once more embrace the festival, meaning it was no longer the sole preserve of the stalwarts, although they still are very much the core and beating heart of the event.

My show at The Albert Hall was to be staged on Tuesday night and this year I had been asked to perform a double bill of Mr Dickens is Coming! followed by The Life and Adventures of Nicholas Nickleby. These two shows were the first that I wrote back in ’95 and ’96 and whilst I have already performed Mr Dickens is Coming a few times this year, I have not revisited Nickleby for a long time and it was with great pleasure that I spent the days preceding my trip going through the lines and finding that they came back to me with a minimum of effort – not just the lines, but the timing, nuances and movements too.

My drive from Oxford to Powys took me on motorways at first, but in no time I was on smaller roads, driving through picturesque villages. Shortly after passing Tenby Wells I realised that the car was in need of fuel and so I stopped at a small filling station. In fact I queued at the small filling station, for the price of a litre of Unleaded was £1.62, by far the lowest I had seen since the prices were coming down from their £2.00 peak of a few weeks before, and obviously people were coming from miles around to avail themselves of a bargain top up. I took the opportunity of the stop to buy a sandwich for my lunch, and I chose a magnificent door-stop cheese and pickle example. This wasn’t a typical pre-packed, limp, flabby, sweaty sandwich, such as you might expect to find in a petrol station, oh no, this had been lovingly built by hand by someone who wanted to make sure that drivers didn’t go hungry!

Shortly after finishing my sandwich I decided that I fancied a cup of coffee, maybe a slice of cake, and I was pondering where best to purchase these items when I saw brown tourist signs for the National Trust property Croft Castle. ‘Well,’ I thought, ‘I have a National Trust membership card, so I wont have to pay an entrance fee, and the property is sure to have a tea room, so why not give myself a little treat?’ I was not disappointed, for the tea room served up an excellent slice of coffee and walnut, and the setting was fabulous.

I stretched my legs by walking to the ‘castle’ itself and admiring the views, before returning to my car and completing the journey through the gorgeous Welsh scenery

I arrived in Llandrindod at around 3pm and checked into my home from home in the town, The Portland Guest House where I settled into the room I always have on the very top floor. I lay on the bed, watched a little cricket on the television and had a short nap before it was time to shower and make my way to the theatre – a drive of 0.1 mile, which took me maybe less than a minute. I unloaded my various props, and with the assistance of theatre manager Ben carried them to the stage.

It was at this point that I realised that I had left my top hat and walking cane at home. These items do not have a huge role in the show, in fact they only appear in a single scene very early on in Mr Dickens is Coming to create the jaunty demeanour of Mr Micawber, who uses the cane to as a metaphoric set of scales to measure the happiness or misery of his income. The show can be played without these simple items, but it would be a shame, and as the large majority of the audience would be in costume, I reckoned that I may be able to borrow a hat and cane from somewhere: I asked Ben to make appropriate enquiries on my behalf.

I had plenty of time to prepare, for the show wasn’t due to start until 8pm, although some of the audience arrived expecting a 7.30 curtain up. Having carefully set the stage I ran through parts of both shows, until the first of the public began to arrive, festival regulars in full costume, and having said a few hellos I made my way back to the dressing room, where I changed into costume and waited. As time passed Ben appeared holding a hat which he had commandeered. No cane yet, he was working on it!

I could hear the audience gathering and eventually, with ten minutes to go, a walking cane appeared too: I was ready to go.

At 8 o’clock Queen Victoria (aka my good friend Rita) made her entrance and the whole audience were asked to stand as she processed to her front row seat, as I stood waiting in the wings, desperate to get going (I am like a caged beast in those last minutes before a show starts, pacing to and fro waiting to be released). When the Queen was seated Ben faded the houselights to black and then illuminated the stage and I walked on to a round of applause. The Albert Hall could really have been built to suit my style of shows – the size and elegance of the auditorium and the imposing and powerful height of the stage, makes it perfect for me. Mr Dickens is Coming went well, getting laughs at the right moments, and I was very careful with the top hat (a particularly fine vintage example), and cane during the Micawber section, but as I made my way into the sinuous, repulsive Uriah Heep passage and then to the exhausting sword fight of The Bagman’s Uncle (masquerading as a 1960’s James Bond movie), I threw everything into the show.

At the interval I waited until most of the audience had left the auditorium then changed the furniture round in readiness for Nicholas Nickleby (not a huge set change, it must be said, just changing the red reading desk from stage left to stage right, and moving the chair from stage right to stage left.) I made sure that various prop letters that are needed for Nickleby were where they should be, and then waited until the Queen returned and I could begin once more.

As I had discovered during my rehearsals Nickleby came back to me as if I had been performing it regularly all season and I had lots of fun leaping from character to character. I used a slightly different voice for Ralph Nickleby, making him a little older than he used to be, but it didn’t go well as my throat began to tighten, so I reverted back to a safer option for the balance of the show.

The story raced from Devon to London to Yorkshire back to London to Portsmouth back to London again and finally to Devon once more before reaching its conclusion over Smike’s grave. I left the stage and returned to take my bows as the audience applauded my efforts. It had been a fun night.

As soon as I was off stage I began packing up my costumes and props as the 8.00pm start time meant that it was late, and I had dinner to enjoy yet. Ben and the rest of the Albert Hall Crew helped me load my car up and I drove back to the Portland from where I walked back to John Abell’s home where we traditionally have a late night Chinese take away in the company of his mum Julie, and this year we were joined by Marina from the festival committee and her daughter Mia. We tucked into the meal, drank some champagne that John had bought for us, and finished off with chocolate brownies. There was lots of chat about films, running, the festival and various other topics, and it was a perfect way to wind down after such an energetic and exciting evening.

It was late when I walked back to Portland but even then the adrenaline was still keeping me awake so I switched on the television and found an old episode of Inspector Morse. I knew it was time to turn the lights out when the murderer was revealed and I hadn’t realised that anyone had yet been murdered!

On Wednesday morning I woke to find the town wrapped in cloud with a wet drizzle soaking everything, this was a pity for I’d planned to head up into the hills and play some golf that morning. I went downstairs to breakfast and devoured bacon, sausage, egg and toast and as I ate, the skies seemed to brighten a little and I decided to go ahead with my original plan after all.

Llandrindod Wells golf club is a lovely course which I have played on a number of occasions and the weather Gods welcomed me as I pulled into the car park, for the clouds disappeared and revealed a blue sky behind. I was greeted by the club pro Phil Davies, and we chatted for a while about the festival and Charles Dickens, before I set off on my morning’s adventure. The course is very hilly, especially over the first 4 holes as they rise up to the highest point, and I asked Phil if I could rent an electric trolley for my heavy golf bag. I have not used one before and it took me a while to get used to the controls – at first I had the speed setting too high and the thing flew off up the course dragging me behind it. I would have reduced the setting if I’d bothered to ask how to do that, but I had no idea how to control the thing as it threatened to pull my arm from its socket. Eventually I discovered a little dial on the handle and my journey up the mountainside became more sedate.

The round of golf was wonderful and I actually had the course to myself for the morning. The scenery surrounding me was stunning, the air was clear and little swifts swooped around me as I walked.

I actually played very well until the last few holes when maybe the effects of the show took their toll, but for whatever reason I rather lost focus and talent at the same time, but it didn’t spoil what had been a great morning.

I had one more commitment at the festival and that was to attend a strawberry and champagne picnic on the green. I asked Phil if I could change in the golf club’s locker room, and he asked if I would pose on the course in costume, which I was delighted to do. I even tried a drive from the first tee but my frock coat didn’t allow for me to swing properly and the ball bobbled embarrassingly before coming to rest a few yards in front of me. Phil very kindly said it looked as if I had a good swing!

Back down in town I made my way to the green where another of the costumed ladies was setting up her champagne table. Joyce has always put this event on, she brings all of the champagne and punnets of strawberries; It is her gift to all of those who make the festival such fun. Over the last year Joyce has been through many difficult times and it was doubtful whether she would be attending this year, but just a week before she announced that she would be present and the reception would be on!

At 1 o’clock the costumed folk began to gather and set up tables for their picnics. linen cloths were laid, teapots filled, china cups and saucers laid and cake stands filled – it was so splendidly British!

Marie, another regular visitor, helped Joyce set up and when the ‘bar’ was complete Joyce looked as if all the woes of the world had left her and she looked genuinely happy with a beaming smile. We all had a glass of champagne (fortunately there was a non alcoholic version that I could drink) and we all toasted to happy times.

And that was the end of my 2022 visit to Llandrindod Wells. I said my goodbyes and set off back to Oxfordshire. I have left in previous years wondering if the festival could survive and not sure if I would be returning, but this year it seemed in rude health indeed and the future looks bright!

Wentworth Woodhouse

Tags

Buick, Cadillac, Charles Dickens, Dickens and Staplehurst. A Biogrpahy of a Rail Crash, Frank Lloyd Wright, Headingly, James Rennie Mackintosh, Route 66, The Crown, The Signalman, Wentworth Woodhouse

On Saturday morning it was time to load the car up once more ready to drive to the county of Yorkshire, in the north of England for another leg of my 2022 tour. This time I was to perform Mr Dickens is Coming and The Signalman at the glorious stately home of Wentworth Woodhouse. This particular combination of shows requires me to load both the replica of Charles Dickens’ reading desk (for Mr Dickens is Coming) and the large clerk’s desk which features on the set of The Signalman, meaning that, with all of the rest of the props, this is the most difficult programme to squeeze into the car. I spent quite a long time trying different combinations of packing, until finally everything fitted in successfully. I took a few pictures so that I could remind myself how it worked, and then prepared to leave for to long drive North.

I was accompanied on my journey by coverage of the third cricket test match between England and New Zealand which, coincidentally, was being played at the Headingly ground in Yorkshire, not far from my destination. I had left a long time for the drive, and stopped for lunch at a motorway service station before continuing my journey through the beautiful scenery of The Peak District and on into what the locals call ‘God’s own Country’. I reached the village of Wentworth with an hour or so to spare so pulled into a small car park to relax before completing my journey. At Headingly the commentators talked of heavy rain storms preventing play, and sure enough, shortly afterwards, the skies darkened and the same weather swept over me, but almost as soon as the rain fell so the clouds parted and the sun shone once more.

At 5 o’clock I started the car up and drove down the long driveway into the grounds of the great stately home, which unlike it’s counterparts at Chatsworth or Blenheim, is little known. But Wentworth Woodhouse is a truly remarkable building, boasting the largest Façade of any stately home in Europe. The house is actually two houses, one facing to the West made out of red brick and the other facing East made of honey-coloured stone with grand Palladian columns, and it was in front of the latter that my little red car sat dwarfed by the opulence and splendour.

The house was just closing to the public as I entered, and the young man behind the front desk greeted me with a a reference and awe which suggested that everyone was very excited about this event. This would be my first performance at the house, although I did visit last autumn just to discuss the practicalities of my performances and to see the rooms. Proceeds from the show would go towards the never ending restoration project.

My contact for the evening was Mark and he along with various volunteers who had either been working during the day, or who were arriving for our evening event, helped me to unload my car. I have had a wide variety of dressing rooms in my time ranging from modern well-lit ones to cramped toilet stalls, but none can ever be more grand than the painted drawing room at Wentworth Woodhouse – it was huge, lavish and impressive. The chair and table that had been placed for me looked lost in the space, but, I reflected, there was plenty of room to pace around going through my lines!

The two shows would be in different rooms. I would be starting with Mr Dickens is Coming in one of the grand state rooms upstairs, where the guests would be eating a Victorian-themed dinner (actually based on one described in Martin Chuzzelwit), and then everyone would move downstairs to a much smaller, and darker, room where I would finish the evening with The Signalman. Fortunately the majority of the furniture that I had brought was for the ghost story, so didn’t need carrying up the grand staircase, only the reading desk needed to be up there.

The staircase is wonderful, circling out to the right and to the left before curving back on itself. The huge wall of the stair well is painted white, with niches of rich deep Georgian blue for the display of ancient statuary. The house is a popular venue for filming and has featured in many TV series – it will make an appearance doubling as The Kremlin in a forthcoming season of The Crown. The room in which I was to perform the first half was lavish in the extreme, and already laid out with table for dinner, each of which bore a Dickensian name: Heep, Drood, Quilp, etc. I was to perform at one end of the room beneath a huge painting of a rearing stallion (I debated as to whether I should open the show with a little cough and then say ‘I am sorry, I was just feeling a little hoarse….’, but decided against it).

Everyone was very busy making final preparations for dinner, so I took myself back downstairs and set up the other room where I could be alone and do a little rehearsal, although on this occasion I was pretty confident with the lines.

I had an hour or so to myself and from my dressing room I could hear the noise and bustle echoing through the old stone hall of guests arriving. There was laughter and chat and noise, and I felt a wave of nerves, as I often do at a new venue, and thought ‘what are they expecting? Can I give them what they want?’

The hour for gathering and aperitifs passed quickly and soon Mark came to tell me that it was time to begin the show. I followed him up the staircase, and waited outside the room while a few of the guests returned from the loos, and then he said a few words of welcome to the assembly and then welcomed me – I was greeted with lots of applause and I knew straight away that we were in for a fun night. There was spontaneous applause after many of the character performances, and much laughter at the terribly contrived gags that make sure Mr Dickens is Coming remains a piece of entertainment primarily, rather than becoming a literary or academic performance.

The intimate nature of the room and the sheer exuberance of the audience made this one of the freest and most enjoyable performances of the show that I can remember. It was hot in the room and the sweat flowed freely (unfortunately so for the poor gentleman in the front row whose hand I limply shook in the moist character of Uriah Heep). Despite the heat I enjoyed myself thoroughly and seemingly, if the applause and shouts were anything to go by, so did the audience!

I left the room with a surge of adrenaline, a real high, and returned to my drawing room, where I paced around for a while calming down. I changed my shirt and swapped the bright golden garish waistcoat for the sombre black one, and then returned to the dining room where I joined one of the tables for a spot of dinner, although I don’t usually eat too much when I am performing. The menu featured a delicious meat pudding, with mashed potatoes and vegetables followed by a creamy posset (which I avoided so as not to risk my throat tightening during the second half) As I sat and chatted with my table mates, lots of other guests came and offered to buy me a drink, all of which offers I politely declined, restricting myself to water.

Each table had a quiz on it and as we ate the results were announced. I had very carefully NOT assisted my table with their answers for that may have been rather unfair, but the two they had answered incorrectly were ‘what is the nickname that Charles Dickens used for his first writing’ and ‘which is the only Dickens novel that does not feature London as a setting’ . Answers at the end….

When dinner was finished we all made our way downstairs to the smaller room which was laid out with theatre style seating. Mark and I had discussed the lighting in the room and decided to keep the overhead lighting on. The room is painted dark grey and would have had a supremely eerie atmosphere without the lights, but unfortunately there was not enough residual light to illuminate my facial expressions effectively.

Soon the room was full and I began talking about the Staplehurst rail crash as a prelude to The Signalman. This was a slightly risky piece of programming, considering that the comedy of Mr Dickens has proved so popular earlier in the evening and, to be honest, there aren’t many laughs in the The Signalman, but the audience appreciated the suspense and the characters and at the conclusion once again clapped and shouted and stood as I bowed. It had been a supremely successful evening and hopefully I will return to Wentworth Woodhouse in the future.

As the guests began to leave, I changed out of costume and started to collect all of my props and furniture which Mark and the volunteers helped to carry to my car. Having consulted the photograph I had taken of the boot that morning, I managed to get everything stowed and said my goodbyes before driving out into the night.

I was staying for the night at the home of Nick and Marie Cragg, who actually were responsible for this whole event. In 2007 I had performed for them in aid of a charity, and it was Marie who got in touch last year suggesting that I contacted Wentworth Woodhouse. Nick and Marie live in an amazing house that they built to their own exacting design – it is a house built for art: visual and performance (my performances in 2007 were in the house), and in fact the whole building is itself an artwork with lots of design features giving nods to James Rennie Mackintosh and Frank Lloyd Wright.

Nick and Marie are fine hosts and we sat up late into the night talking about all sorts of things, not just the show, and it was a wonderful way to wind down. Having lived there for 20 years the couple are now selling and are moving to Guernsey, where they have already bought a smaller property with spectacular views across the sea. As we chatted they suggested that there may well be an opportunity to perform on the island which would be very exciting.

When I finally went to my room I fell asleep instantly and slept well. I woke next morning and joined Nick and Marie for breakfast and as we chatted it came to light that Nick has a fascination of old cars and in the garage had two American cars from the 50s. My passion for all things automotive piqued, I asked if I may see them – they were magnificent: a Buick and a Cadillac all fins and chrome, and vinyl bench front seats, and steering column mounted gear shifts.

The engines, oh the engines. Nick started both up and the great big, low-revving V8s just purred and rumbled. When I gently put my foot on the accelerator pedal of each the whole vehicle shimmered and trembled, asking to be taken onto the long freeways and head west on Route 66.

It was a very special treat to see these particular works of art, and yes I do regard them as such, but it was time to leave Yorkshire behind me and head back south once more.

Answers to the two quiz questions: Boz and Hard Times

The Bells – Tales of Two Cathedrals

Tags

Canterbury, Canterbury Cathedral, Carnegie Forum, Charles Dickens, Dickens and Staplehurst. A Biogrpahy of a Rail Crash, Leicester Guildhall, The Signalman, Thomas Becket

Leicester

On the Friday following my return from Rochester I was back on the road once more, driving to the city of Leicester, where I was due to perform The Signalman at the ancient Guildhall which has been a regular part of my tours for many years.

The week had been mainly spent going over my lines, as once again I was performing a different script, I have not managed my 2022 tour very effectively when it has come to booking my shows, for I haven’t done the same script twice in a row for weeks now. Since I travelled to Cheshire on 21 May I have performed Great Expectations, Mr Dickens is Coming, Sikes and Nancy, The Trial from Pickwick, Doctor Marigold, Dickens and the Queen and now The Signalman, and my mind is getting more and more addled with all of those lines!

My regular visit to Leicester is as the final date on my winter tour, always performing A Christmas Carol as a matinee and evening show on 23rd December, so it felt odd to arrive in the warm sunshine of a June afternoon. The Guildhall is situated half way along a narrow cobbled lane, with the mighty spire of Leicester Cathedral above it. Even though the cathedral is currently closed for restoration work, the bells (which regularly accompany my shows) were still ringing loudly. I parked the car at the end of the lane and started carrying the first pieces of furniture that make up my Signalman set to the Guildhall’s front door, where I was met by Ben Ennis who runs the museum there and who has become a good friend over the years. He returned to the car with me and assisted in the unloading until everything was in and we could find a parking place. Ben hopped into the passenger seat to show me where we would most likely to be able to find an on-street spot, but as soon as we set off a car pulled out from the kerb and we were able to park straight away and conveniently close to the Guildhall which was a relief.

We walked back and I began setting up the room for the evening’s event. I was due to start by giving my talk about my book, ‘Dickens and Staplehurst’, as an introduction to ‘The Signalman’ the performance of which would take up the second act. The first job was to see if my laptop would talk to The Guildhall’s projector, as it is nice for the audience to have a few pictures to look at as I tell the story of the great 1865 rail crash. Last time I performed this programme, at Preston back in March, I never managed to get the projector connected, and I wasn’t confident that it would be any different this time round, so I was delighted when the screen flickered and images appeared.

With everything in place I made my way up to the huge room in which I change, and ate a small salad and some fruit and continued running through the lines of The Signalman, to make sure they were absolutely in place before the audience arrived for the 7.30 start. At Christmas I perform in the main Guildhall chamber and we have an audience of over 200, but because this was a smaller event Ben and I decided that the Mayor’s Parlour would be a better, more intimate room. The Parlour is directly under my changing rom, so not only could I hear the audience taking their places, but I am sure they could trace my footsteps as I circled the room above (whenever I run lines I have to be on the move constantly)

The Parlour was full when Ben welcomed me, and I walked to the front of my room in the blue trousers, pink shirt and grey checked jacket that is my casual ‘costume’ for the book talk.

The show was on 10th June, which was the 157th and a day anniversary of the crash itself, and the historical significance of the date was not last on the audience who followed every word with interest. The horrors of that June afternoon built the atmosphere perfectly for the intensity and darkness of the second half and I left the room, having heavily and shamelessly promoted my book which would be on sale after the event.

I changed into the all black Victorian costume, and went back to the Mayor’s Parlour to move the scenery into place once Ben had removed the screen and projector. I switched on the red spotlight which represents the danger light at the mouth of the tunnel and then returned to the Jury Room until Ben gave me the nod that it was time to start.

The words were firmly in place and the atmosphere in the room was perfect, even the Cathedral bells added to the intensity as they tolled solemnly adding a mournful soundtrack to the poor Signalman’s tale. At the end of the show I remained in the room and chatted with the audience, and sold a few books too. It was a fun, intimate, evening in great surroundings with some very nice people

I was not staying in Leicester that night, as one of our daughters was due to play in a football tournament early on Saturday morning, so when the audience had left I changed and with the help of the Guildhall staff loaded up the car before driving through the night back home to Oxfordshire.

Incidentally, the late night was well worth it, for our daughter scored an amazing goal in her tournament, firing a powerful shot into the roof of the net. Her celebrations with the team mates would not have been out of place in the UK Premier League, whilst her dad stood on the touchline with his arms aloft!

Canterbury

I didn’t bother to unload the car when I got home because I was due to be on the road again on Sunday afternoon, to drive to another cathedral city, Canterbury in the county of my birth, Kent. The fact that I was keeping the same furniture in the car may tell you that, thanks be to God, I was actually performing the same show for a second night! No new words to learn or revise, just the confidence of repeating a script which was firmly in my mind, and which had gone so well just two days earlier. It was a lovely afternoon to drive and the Sunday traffic was light as I listened to the radio commentary of the second cricket test match between England and New Zealand which was swinging one way and another between the two teams. The hedgerows and fields were alive with white frothy blossom, pricked with colour from poppies, cornflower and buttercups, the sky was blue, streaked with wisps of white cloud and the whole scene was perfectly British.

In Canterbury I drove to my hotel and just had time to check in and have a quick refreshing shower, before trying to find the venue for the show which was at The Canterbury Cathedral Lodge Hotel. Canterbury is an ancient city, dating back to the Roman times and beyond, and the centre is a spider’s web of tiny lanes, mostly closed to traffic. I followed my sat nav unit which took me to the very gates of the cathedral among groups of languid tourists and students ambling through the streets gazing at the views. Unfortunately at this particular point there was no vehicular access to the precincts so I had to double back and try an approach from the other side of the city. This time I got a little closer, but still wasn’t able to get to the hotel. I managed to find a parking place and went to the cathedral gift shop to ask advice. The staff directed me to a tiny driveway, next to one of the city’s many pubs, and so finally I was able to pull into the oasis of the cathedral’s grounds.

Canterbury Cathedral is magnificent and towers proudly over the city calling pilgrims to the tomb of Thomas Becket who was brutally murdered there in 1170 by followers of King Henry II. Naturally the bells were pealing loudly, as they had in Leicester.

The Cathedral Lodge Hotel is a modern building (by which I mean 1970s), and is more of a conference centre than a tourist hotel. I have actually performed there before at a conference for The Dickens Fellowship many years ago. I carried all of the Signalman furniture through the gates and up a long path, negotiated the swing doors into the entrance hall, and from there up a staircase to the room where I would be performing.

I was due to perform for a small tour group of ‘mystery readers’ from America. The tour had been arranged by Kathy, who I had met many years ago at a Rochester Dickens Festival. Kathy is based in America and has been putting these tours together in association with a company called Tours of Discovery, owned an operated by Nicky Godfrey-Evans, a certified Blue Badge tourist guide from Cumbria.

As I was setting up both Kathy and Nicky arrived and checked that all was well and then disappeared to freshen up after a long day out on the road (the group had been visiting Rochester where I had been just a week before). I finished positioning the set, and then stepped out onto a little balcony which overlooked the quiet gardens above which the cathedral tower towered.

The show was due to start at 6 and the various members of the tour started arriving and taking their place as the clock ticked around and when everyone was ready Kathy welcomed the group and introduced me. On this occasion I was not doing the first half about my book, but still prefaced The Signalman by talking briefly about the Staplehurst crash. Obviously quite a few of the audience didn’t know of the accident as there many gasps and shocked expressions as I continued telling the story. The Signalman had the same effect, especially the final moments, and it proved to be a most successful evening. Having taken the applause and been thanked by Kathy, I took some questions and was able to tell a few anecdotes and talk about my acting life and how the Dickens shows came about (incidentally all of which is the subject matter for my next book!)

When I had finished speaking everyone gathered around the table at the side of them room and a large proportion of the group ensured that they would be taking home signed first editions of a Dickens book.

I changed out of my costume and a few of the group very kindly helped me to ferry all of my furniture back to the car where I carefully loaded it. Kathy and Nicky had offered to take me to dinner after the show so we walked into the centre of Canterbury and ate at a Cote Brasserie in the company of Diane, another member of the group who had written her dissertation on Dickens and who is a massive fan of my ancestor.

We sat outside the restaurant as it was still a warm evening. It was very quiet in the city centre, and we ate our meal at a Parisian pace, enjoying the good food, chilled wine and fine companionship. It was so nice to be able to have a relaxed meal after a show, for so often I finish late and end up with a take away in my hotel room. It was getting dark when we walked back to cathedral, subtly floodlit against the dark blue of the night sky.

I said good by to Kathy, Nicky and Diane and returned to my car and drove the five minutes back to my own hotel.

The Carnegie Forum, Abingdon

I had to leave Canterbury early the next morning as I had another commitment back in Oxfordshire at lunchtime, so as soon as I had enjoyed the Premier Inn breakfast, I was back in the car and edging along in the morning rush hour. I had plenty of time to get home and passed the time listening to podcasts about the weekend’s Grand Prix and the Test Match.

I was due to speak at the Carnegie Forum event in Abingdon and was due to be there for 1pm. The Carnegie award is given to the best work of children’s literature each year and has been awarded to many influential and notable authors. Alongside the official announcement schools around the country are encouraged to stage their own events based on the shortlisted novels. In Abingdon pupils from 6 schools come together to work in teams, preparing short presentations extolling the virtue of each novel. Many of the students have also written reviews of the books, and these are judged also (in past years I have been on the judging panel and certainly didn’t envy the task of this year’s judges!) I had been asked to give a 20 minute talk on the art of public peaking and presentation. As public speaking is not something I enjoy, or think I’m particularly good at, I talked about the ability to ‘assume’ a character as a speaker – a more confident version of oneself, just as if I were playing Scrooge, or Cratchit, or Marigold.

I arrived on time and the pupils were all working hard in their groups under gazebos in the middle of a large school playing field. One of the great things about the event is how students from a wide variety of backgrounds – independent fee-paying schools, and state funded schools, just work together and create some amazing things.

My talk was inside a small sports pavilion and as there were so many kids working I gave the speech twice, taking half of the participants each time. I hope it was alright and hit the brief – everyone seemed to listen quietly and they all applauded at the end, so it must have been OK! The best bit was the opportunity to extol the virtues of my own favourite book from my childhood – A Bear Called Paddington, by Michael Bond, and I wallowed in nostalgia as I explained what that little book (and that little bear) had meant to me. I also tried to communicate my sheer pride and emotion at seeing Paddington’s starring role as part of the Jubilee celebrations.

With my talks done, we all went outside and watched the presentations. Part of my speech had been about the practicalities of being heard and understood effectively, but as the sketches were being performed in the open air with the busy A34 road just behind the field, it was very difficult for all of the performers, (although some really shone out).

The conclusion to the afternoon was to announce the winning presentation, the best book reviews and then the result of the student’s vote for their favourite shortlisted novel, and it is always interesting to see how that compares with the official announcement, which will be made on Thursday.

It had certainly been a busy few days and now I have a few days rest before getting back on the road on Friday.

Rochester – Jubilee or Dickens?

Tags

Charles Dickens, Festival, Jubilee 2022, Mystery of Edwin Drood, Pickwick Papers, Queen Victoria, Rochester, The Empty Chair, Wordsmithery

For as long as I have been performing, and indeed for a few years before that, the first weekend in June has meant attending the Rochester Summer Dickens Festival. The city of Rochester in Kent has long associations with Charles Dickens, as he lived nearby in both his childhood and at the end of his life. Many of his novels are set in Rochester, including his first (The Pickwick Papers) and last (The Mystery of Edwin Drood). The local residents and the council are proud of their connection with Dickens and treat him as their own, so each Summer the streets are given over to a celebration of his life and works with costumed characters mingling with the colourful crowds.

It has to be said that over the years the festival has become more of a huge party and carnival and less of a Dickens event but I have always been invited back to perform a variety of my shows, thereby maintaining a familial connection.

In 2020 and 2021 there were no festivals due to Covid, so 2022 would see all of the participants back on those ancient streets for the first time in 3 years, but this year we wouldn’t be attending a pure Dickens Festival for the first weekend in June coincided with a weekend of patriotic pride as the nation came together to celebrate the Platinum Jubilee of Queen Elizabeth II. A city such as Rochester would be amiss indeed if it didn’t honour the Monarch so the plan was to subsume the Dickens Festival into the Jubilee party.

As far as I was concerned the biggest change was that I would not be performing in the beautiful Guildhall museum, that has been my ‘home’ in recent years, but instead my show would be part of a fringe festival celebrating the spoken word, and which was organised by an organisation called Wordsmithery. From the sumptuous surroundings of the Guildhall I would be instead performing in a small tent in the shadow of the ancient castle

When I first attended the Dickens Festival there was a large programme of talks, lectures and performances, but this aspect has declined in recent years, but I need to congratulate Wordsmithery and the Medway Council for providing this opportunity. Over the two days there was a constant programme of events and I definitely think that this an opportunity to be encouraged and developed.

Saturday

Having driven to Kent on Friday night (after attending the most brilliant circus with Liz and the girls in the morning), I woke quite early on Saturday morning to be greeted with a grey windy day. I was glad of a little time for I wanted to run through my show, which was a brand new one. Usually my performances run for about 45 minutes to an hour, but to fit into the Wordsmithery timetable I had been asked to produced something that ran at 25 – 30 minutes. I had suggested ‘A Child’s Journey with Dickens’ or ‘The Signalman’ both of which are relatively short, and I had also flown the idea of creating something new, detailing the only meeting between Charles Dickens and Queen Victoria – that idea was leapt on, as it tied in so well with the Royal theme, and just a few weeks ago I had begun researching in an attempt to tell the story effectively.

I was assisted by a script that had been written many years ago by an actress in America who portrayed Victoria at various festivals and events. Anne Hamilton had worked closely with my father over a play called ‘The Queen and the Commoner’, and her script was a superb place to start. I also discovered various other accounts of the private audience – the Queen herself wrote about it in her journals, and of course Dickens wrote letters. There is a detailed account by Arthur Helps, the Clerk of the Privy Council who made the meeting possible, and Charles Dickens’ tour manager George Dolby published his memories of sharing a dinner with the author immediately after he had left Buckingham Palace.

The choice of the Queen script was made late in the day meaning that it would be impossible to write and learn it in the time available, but Barry from Wordsmithery assured me that most of the acts, including his own poetry recital, would be ‘on the book’ and it was fine to give the show as a reading.

My first writing of the new script concentrated purely on the meeting between the two great figures – covering their discussion of America (Dickens had just returned from his second tour), including a description of President Lincoln’s dream in which he had a premonition of his own death 10 days before the fateful night at Ford’s Theatre. They also spoke of the gulf between the rich and poor and the necessity of solving that issue; they discussed the price of beef and bread and the difficulty of finding good servants in England. The Queen presented Dickens with a copy of a book that she had written (which he had previously read and detested), and he offered to tell her the proposed plot of The Mystery of Edwin Drood – she declined the offer meaning that our only hope of unravelling Dickens’s final mystery was taken from us.

When I had finished the script I discovered that it was woefully short, running at around 15 minutes, so I decided to include some other incidents involving the two. In 1840 on the day of Victoria’s wedding to Albert the young Charles travelled to Windsor Castle with friends and there, beneath the window of the Royal bed chamber he flung himself to the ground professing his undying love for the Queen! This behaviour could be put down to high spirits and an excess of celebration, but in the days following he continued to write a series of letters telling all and sundry that his life was not worth living without Victoria, and that he hated his wife, his parents and his children. He wanted to run away and commit murder (the queen should have to sign the warrant for his death penalty and therefore his name would come before here eyes), or suicide. He theatrically and flamboyantly asked that his body be embalmed and placed on the arch outside Buckingham Palace when she resided in London or on the round tower at Windsor when she was there. These were the type of letters that a celebrity may rather have wished would not resurface!

In the end the script ran at half and hour and seemed quite fun.

Saturday morning in Rochester was grey and very windy. I parked my car and walked to the mote of Rochester Cathedral where Wordsmithery were based. There were two venues each in a tent – one was called The Raven (Dickens had a pet raven, Grip), and the other ‘The Empty Chair’ after the sketch made of Dickens’ study on the day of his death.

My first show was due to be at 11.30 in the smaller tent – The Raven, and as the start time came closer a steady stream of audience arrived and took every available seat with more standing outside peering through the flap. Barry announced me and I began by issuing a warning that if the wind kept up we may not be ‘in Kansas anymore!’ when we finished

The script worked very well and people laughed at appropriate moments and applauded at the end, which was a huge relief.

And now I had time to explore the rest of the festival – to celebrate the Jubilee in style, and I have to say I was somewhat disappointed. It seemed to me that the event had rather missed the target, for there were no large events to celebrate Queen Elizabeth’s reign. In the castle grounds there has traditionally been a stage and it would have been wonderful to have brass bands playing, energetic dance shows, tribute bands and the like, but there was no arena or stage this year and the area looked rather forlorn. There was a large screen which was playing a programme of Royal-themed cookery programmes, but nothing more. In previous Dickens festivals the long High Street has been filled with entertainers, and there were a few stages along the way where theatre and dance schools would do shows, while jugglers, one-man bands and storytellers gathered crowds, laughing and cheering around them. There were no entertainers in the streets and no talks, lectures or exhibitions. It all seemed a bit flat.

Fortunately there were still plenty of costumed characters to engage with the public, and these volunteers go to great lengths to make wonderful costumes and are happy to pose for photographs and chat with the visitors to the town. The centrepiece of the Dickens Festival are the two great daily parades but this year there was only to be one, at 1pm. All of the costumed characters gathered at the end of the High Street behind the pipe band, and off we set. We waved and smiled and the crowds waved back, but still there was not the same buzz, the same excitement as in previous years. When we all arrived in the Castle Grounds the Mayor made a short speech and the parade dispersed. I stayed around for a while, making myself available for photo ops, but soon my day at the festival was done.

Knowing I had an early finish I had booked a round of golf at a nearby course and I was amazed to discover that I was about the only player on it! The wind was still strong which effected my game, but most of the errors I made were down to me being very out of practice rather than the prevailing weather conditions. It is so nice to play without being held up, or indeed feeling as if you are holding up the players behind, and it was a very relaxing evening.

Sunday

My show on Sunday would not be until 3pm, so my first actual commitment would be the parade at 1pm. However I got into costume and drove to Rochester quite early in the hope that the crowds would be out in force and that the party atmosphere that was gripping the country would make this a day to remember. Throughout the nation there would be street parties and the British would do what they do best! But in Rochester that flat feeling of the day before continued, perhaps even more so. There were not large crowds and even a number of the costumed characters were mumbling and grumbling. I took the opportunity to visit the Guildhall, wondering if they had a display of the many Royal connections with the City, but there wasn’t anything going on there. ‘My’ room was empty with chairs stacked at the sides. The staff had wondered whey I was not doing a show there and indeed a few confused potential audience members had arrived during the day before asking when I would be on.

As I walked back down the High Street it was almost empty and the thought suddenly came to me that if this was to be a real Jubilee celebration then the opportunity to have a HUGE street party taking in the entire length of the thoroughfare would have been amazing! What a spectacle that would have been!

Midday on Sunday 5 June: Jubilee Day

At 1 we paraded again, and waved and smiled and posed once more until we all went our different ways in the afternoon. My show was at 3, so I made my way to the ‘Empty Chair’ yurt at 2.30 to prepare. The wind was considerably less on the Sunday, so I didn’t have that to contend with, however the bells of the Cathedral were being loudly rung on one side whilst the Pipe band, with their rat-tat-tat-ing drums, gave an impromptu concert on the other. ‘Once more unto the breach, dear friends, once more’

Again the yurt filled and again people stood outside peering in, and once more the new script was a success. It is an interesting subject and something that I will look more closely at in the future, I think.

The Empty Chair

And now my 2022 Festival was over. Jubilee Celebration or Dickens Festival? Sadly it was neither – it could and should have been a wonderful opportunity to wave the Union Flag high and proud, and I don’t think that anyone in the Dickensian community (I certainly wouldn’t) would have begrudged being gently eased aside to celebrate a remarkable time in our country’s history, but somehow, it just didn’t happen that way.

I drove away from Kent feeling a little sad.

A Long Day At Heathrow

Tags

Baden-Baden, Charles Dickens, Frankfurt, Germany, Heathrow Airport, Monaco

Having returned from Suffolk on Friday, my UK tour turned into an international one on Tuesday as I left the house early in the morning to drive to Heathrow airport, where I was due to board an 11.30am flight to Frankfurt. I had been booked to appear on a German TV show which was to be recorded on Wednesday evening, so Tuesday would be a lovely relaxing day, arriving in Baden-Baden during the afternoon, checking into a rather elegant looking hotel, and having the rest of the day to myself to explore the town, maybe take a little swim and session in a sauna at the spa for which the town is so famous. Then I would have a dinner with a finely chilled glass of Rhein Wein, or maybe a Moselle. The only shadow over the day was that Liz wouldn’t be there to share it with me.

My drive to Heathrow was easy, for the roads were clear and fast moving. I drew into the car park just before 9 o’clock, and having made a note or the section and aisle were my Kadgar would rest, I walked to the shuttle bus stop where a van pulled up as I arrived. 10 minutes later I was walking into the departure lounge of Terminal 2. It was only 9.15 and I had promised myself a slap-up breakfast before ambling to the gate at 11. That was the plan.

Terminal 2 was a seething mass of humanity.

The news has been filled during the past week with stories of gridlocks at various ports (Dover being particularly hard hit), and this is due to many factors. Firstly the effect of Covid on the travel industry – naturally many workers lost their jobs, and now that restrictions have been lifted and people are travelling in numbers, the ports are woefully understaffed. Monday 31 May was also the start of a holiday week so a lot of families were travelling therefore putting extra stress on an underprepared system. And there is the ‘B’ word: Brexit. Although the official changes to the freedom of travel within Europe came into force over a year ago, the extra time and manpower of extra immigration and security checks and were hidden by the periods of lockdown and restricted travel. Suddenly in 2022 everyone is seemingly on the move again and quite simply the ports (most especially in my case Heathrow Terminal 2) cannot cope with the perfect storm that brought so many to one place.

I had checked in at home, but I still had to join the queue to drop my bag…….An hour. Now it was 10.15. As I stood in the line an official had passed by saying ‘Frankfurt, 10.30, anyone for Frankfurt 10.30 flight please come with me’. I wasnt really concentrating, but heard the word ‘Frankfurt’, so asked if that was the 11.30 flight, ‘no sir, 10.30’. The man behind me in the line laughed that I should have just gone without questioning the time, covering up the flight details with my thumb on the boarding card. Oh, how I wish I had! I edged and shuffled further forward, until at last I had a bag tag and could send my suitcase into the trusted hands of Lufthansa.

And now I joined the line for the pleasure of getting through security.

At the first look this didn’t seem to be so bad, for the entry to security was just behind the baggage drop, but I was soo disabused of any notion that I could swan through, for I was directed back on myself to join a queue that wound around the terminal, even at one point taking us out of the doors and into the open air, as if hundreds of people were creating a giant conga line – without the happy smiles and laughter.

The woefully inadequate staff were doing their best to contain the large number of people without causing any crushes or dangerous surges. At one point I asked if I could get to the front, as my flight was due to leave at 11.30 and instantly others joined in ‘Mine too’, ‘I am at 11.20.’, ‘I have to be at the gate at 11’, and so the problem was laid bare for all to see – no one was going anywhere fast. It was at 11.05 that I finally stood at the little electronic security gate which would allow me into the security area proper, and even then I was told to wait until the crowd in front had dispersed a little. At last the very patient lady who was controlling the line waved me forward with a smile. I scanned my boarding pass and was rewarded with a message on the screen: ‘Cannot process. Go to your airline for further assistance’ Now what? Well, apparently it was too late to be let through this particular gate – they don’t allow any access after a predetermined time before a flight is due to depart. I asked the lady what I could do, and she suggested that I go to the FastTrack line – that sounded good, so I left the gate, the gate that would allow me in, and found the FastTrack line….or at least found the end of the queue for the FastTrack line, which was as long and as static as the one I had minutes before reached the front of! More pleading with more operatives and I was sent to the ‘extra assistance’ line which is there to help large families with buggies and infirm folk in wheelchairs. Another period queuing, and the clock ticked on past my boarding time and up to departure time. As I continued to shuffle I passed a notice placed on behalf of the ITV television company which seemed to mock me with its words: ‘Raw TV are currently filming Heathrow: Britain’s Busiest Airport’ I bit my lip and did not give in to the tirade of foul language which was welling up inside.

I had a brief glimmer of hope when I received a text saying that my flight had been delayed, but it was only by 15 minutes. The inevitable came to pass and the plane left without me.

When I finally cleared security, the strangest sight met my eyes for Terminal 2 was deserted! Everyone must have burst through the human dam and ran to their gates as fast as they could, without stopping at restaurants, shops or seating. I took a moment to catch my breath and called the television company in Germany to update them on the situation and then tried to work out what to do next.

The Lufthansa help desk was my next port of call, and naturally there was nobody there – every other airline had clerks, sometimes two and in the case of EgyptAir even 3, helping their customers, but from Lufthansa there was nobody to be seen. After waiting for about 20 minutes someone appeared and without making any eye contact or smiling or acknowledging that I even existed, she spent an inordinately long period of time carefully wiping down the desk and keyboard and telephone handset. Having sanitized everything she then realised that the boarding card printer needed refilling with blanks, and disappeared for a while before returning with a handful of cardboard rectangles which she loaded…apparently the wrong way round for she took them out again and had another try. I tried to catch her eye and ask for help, but she wasn’t going to acknowledge me until she was quite ready. Even then there was no hint of a smile, or an apology, or any emotion whatever – I began to wonder if she was perhaps a (an?) holographic avatar of some kind.

When she finally switched on her engagement mode I explained what had happened and passed over my boarding card, and then without a word she disappeared into the back office. To be fair when she re-emerged she bore good tidings, informing me that I would be on the 6.30 pm flight to Frankfurt, which would arrive at 9pm My case, she assured me, would meet up with me there. And so I had a further 6 hours to wait in Terminal 2.

My delicious breakfast, which I had so been looking forward to, had now become a lunch and I sat in one of the restaurants writing this blog post, people watching and just letting time drift by. Having eaten I then went to the book shop and bought ‘A Short History of England’ which may help me in my new-found interest in the Magna Carta, then I found a seat and wrote a little more, read the start of the book and people-watched some more. 2pm became 3 and 3 ticked round to 4, at which point I glanced at the departures board and noticed that my new flight was slowly climbing the second page. I decided to add some excitement to my afternoon by waiting until it clicked onto page one, and then treat myself to a coffee and cake, which I duly did.

Through the afternoon I had noticed that all of the Frankfurt flights had departed from gate A23, so I took a wild gamble and went to sit there – I was alone, but sure enough at 5.45 the announcement flashed up that my flight would indeed depart from A23 and I supressed a smug smile – my first little success of the day.

Much to my delight I was in a priority boarding group so when the flight was ready to board I was able to saunter down the ramp and enjoy an almost deserted aeroplane for a few minutes, my day was definitely improving. The other passengers piled in and then we all sat in our seats as our departure time came and, of course, went. An announcement came from the captain that due to a shortage of baggage handlers the incoming passenger’s bags had yet to be unloaded, let alone ours stored, so another wait was in store. The clock ticked to 7. Eventually the captain came back on to announce that the hold doors were shut and he was confident that we would be able to depart very soon. A further wait. The Captain came back over the PA to inform us that they needed a ‘Headset Man’ to be present to control the start up of the engines and the push back from the gate. I have never heard of a Headset Man before, but apparently he is the aviation equivalent of a sea pilot. So, still we waited.

It wasn’t until 7.30pm, a full eight hours after I should have left Heathrow, that our Airbus began to roll. We took to the air quickly and were soon across the English Channel and over mainland Europe heading South. The flight was a short one and it seemed no time at all before the cabin pressure changed and we began our descent. We flew past Frankfurt’s high rise skyline made a great loop and gently descended to the runway where we touched down. As we taxied lots of passengers stood and gathered their bags, as they had connections to make. Despite the continued pleas of the purser and cabin crew they surged forward, as if that would speed the plane up, and by the time we finally stopped at the gate the aisle was full. I had no such need to hurry (I had become rather accustomed to waiting), so remained in my seat and waited until the initial rush and crush had subsided.

It was quiet in the terminal and I was quickly granted permission to enter the country for the purposes of appearing on a TV show, and made my way into the baggage reclaim hall where, you may be surprised to read, there was a delay. I assume that the same labour shortage is prevalent in Germany as has blighted Britain, but announcements informed us that our baggage would be delayed. For another hour did we wait! At one point the belt started and we all leapt to our feet and watched three bags come out, at which point everything felt silent again. The same happened again 2o minutes later and a few more passengers excitedly picked up the belongings and left, leaving five of us behind staring at a once more stationary conveyor belt. Finally, at 11.10pm the last bags came through, including (to my great surprise) mine! I say the last bags, but that is not quite true for one gentleman in a rather racy checked tweed jacket was left forlornly standing alone as the rest of us left.

Outside stood Ivan. My driver, with a little ipad saying ‘G Dickens’ I could have hugged him. He was due to meet me at 9.05 and now it was 11.15. He led me to his car – a lovely black, sleek Mercedes Benz and I took my seat in the back. Baden-Baden was a drive of about 90 minutes but we skimmed along the Autobahn at a constant speed of around 100 mph which at first was exciting and exhilarating, but which soon became routine and ordinary. Occasionally another car would WHOOSH past us as if we had been trundling along at 20, meaning they must have been touching 150 or more. It is fortunate that the Germans are careful and skilful drivers for the consequences of a collision caused by inattentiveness at those speeds are unthinkable.

At a little after 12.30 we pulled up outside the elegant Maison Messer, an extremely beautiful building redolent of the architecture in Monaco (the scene of the latest F1 Grand Prix the weekend before). I said my thanks to Ivan and in the exquisite lobby was checked in. In no time I was in my room, at last.

My plans for an afternoon at the spa were long gone, as were my dreams of an exquisite dinner, but I dined on a packet of cashew nuts from the mini bar and then fell into my bed , oh the bed – it was so good to be there and sleep came extremely quickly!

Returning to Bury St Edmunds

Tags

Bury St Edmunds, Charles Dickens, Doctor Marigold, Guildhall, Pickwick Papers, The Trial

My busy week continued on Thursday when I drove across the country to the Suffolk town of Bury St Edmunds, and this had been a show which was a long time coming. About three years ago I first had an email from Clifford Hind asking me to appear in the town as part of the 2020 Bury St Edmunds Festival, and arrangements were made as to which show I should perform and what my fee would be. Charles Dickens had visited the town three times, and Cliff was keen to bring the Dickens name back after a gap of 159 years. February came and confirmatory emails were exchanged. March came and the spread of Covid began to take its grip. Inevitably I had another confirmatory email (among many others from various venues), this time with the news that the festival had been cancelled, but asking that we go ahead with the plan for the 2021 festival. A year passed and still Covid held sway, and the Bury St Edmunds Arts Festival was cancelled once more. It seemed more unlikely that the show would ever come off, but Cliff asked that we keep in touch and hopefully we could do something, sometime.

As Autumn of 21 passed it seemed as if things were improving and Cliff was back in touch asking of May 26, 2022 would work – the show wouldn’t be part of the Festival but would be a benefit for the Moyse’s Hall Museum, a 12th Century building housing an comprehensive collection of items telling the story of the town’s long and fascinating history. Cliff wanted me to perform The Trial from The Pickwick Papers and Doctor Marigold, as well as giving a brief talk about Charles’s connection with Bury St Edmunds. The latter request always fills me with terror, for the truth is that local historians will always have access to a great deal more information than me, and the danger is that I just trot out a few easily discoverable facts, promoting local ire. I would need to make sure that my research was sound and that I delivered it in my own way.

On the 16th May, shortly after my return from Kent and before I set off for Cheshire, another email from the Hind household came in, but this time it was from Diane, Cliffs wife with the very sad news that Cliff had unexpectedly died. Our show had occupied so much of his time and attention that Diane and the committee had made the decision to go ahead with the plan and stage the evening in his honour. Suddenly the pressure to do a good job mounted.

On the morning of 26 May I loaded the car with my reading desk and the various rustic paraphernalia for Marigold, as well as the costumes I would need. For some reason I was incredibly nervous about the day and had woken that morning with a pit-of-the-stomach sense of panic, which didn’t leave me all day. As I drove I had my script laid out on the passenger seat and made constant reference to it when I was stopped in traffic.

I arrived in Bury St Edmunds at 4pm, an hour before I was due at the Guildhall where I was to perform, so I parked in front of the famous Angel Hotel, which is where Charles stayed on each of his three visits. As with many hotels across the country, the Angel is proud of its association with Dickens and boasts a blue plaque on its ivy-covered façade, honouring him.

I went in and sat in the stylishly designed lobby and ordered a coffee. A nearby bookcase had copies of Dickens books, as well as a little figurine representing Mr Pickwick and I quietly raised my cup to him. Having finished my coffee I left the hotel and walked through the great stone arch into the abbey gardens where beautifully manicured lawns are dotted with various flint ruins. My home town of Abingdon has similar gardens, where our own Abbey once dominated the skyline, but Henry VIII changed the landscape of Britain forever with his dissolution act of the 1530s, and these beautiful buildings were destroyed. In the case of Abingdon we are not even left with even ruins, for not only was the gold, silver and other treasures taken but the stone itself was taken on barges down the River Thames to be used in the building of new and grand palaces.

Bury St Edmunds Abbey Ruins

After a peaceful and relaxing walk I returned to my car and drove to the Guildhall building, just a few steps away from The Angel, but quite a drive as I had to navigate through a narrow warren of one-way streets, before turning through an opened gate into a small driveway with a space reserved for me. I was greeted by Jill Badman who is not only the manager of The Guildhall but also lives in a charming cottage on site. As I took in my surroundings (beautifully tended gardens) Jill took me into the main building and showed me the room in which I was to perform, and an elegant space it was indeed. A small stage had been erected in front of the fireplace, which would be a perfect setting for my red reading desk.

The Guildhall has a definite history that dates back to 1279 and there are possible references to it over100 years before that, making it senior to my ‘other’ Guildhall in Leicester, which is a little scamp having been built in 1390!

Jill showed me my dressing room which was in the Tudor Kitchen complete with a huge fireplace complete with a pulley operated spit. When she was sure that I had all that I needed Jill left me to my own devices and I began to ferry my props, furniture and costume from my car to the hall. I erected my red screen behind the stage and set up the desk and while I was doing that Diane Hind arrived and introduced herself. I don’t know if Diane is a hugger, but I gave her a big hug and we agreed that Cliff would have been pleased that we were staging ‘his’ event and that we would all make it a memorable evening in his honour. Diane and her son were incredibly strong throughout the evening

As more volunteers and committee members began to arrive, I retreated to my kitchen (where I learned from an educational sign that the Tudors only ate strawberries if they have been cooked) and pondered as to how I would present the first act. Cliff had asked me to talk a bit about how The Pickwick Papers had been written (the novel having connections with Bury), and I was torn between academic and entertaining…I plumped for the latter. In my mind I ran through the various talks I had given about CD’s childhood, his seeing Gad’s Hill and his father’s motivational words about it. I would talk about the creation of Sketches by Boz, his meeting with artist Robert Seymour and the creation of Pickwick. All of those stories are delivered in a light-hearted way, and occasionally take liberties with strict fact (for example, I don’t think that Frederic Chapman really did cry out ‘Who the Dickens is Boz?’ when trying to engage the young author to provide text for Seymour’s illustrations), but they are all based in reality.

Having satisfied myself as to the shape of Act 1 I relaxed in the gardens as the audience gathered. At 7pm I waited at the back of the hall while Margaret Charlesworth introduced me. When I had walked to the stage to welcoming applause Margaret also took a moment to say a few words about Cliff before handing over the evening to me.

My cobbled together first act worked very well and I brought the whole story back to Bury St Edmunds by quoting two letters that Dickens had written during his reading tour of 1861. He had debuted a new reading based on David Copperfield in the city of Norwich and had complained that the audience there were ‘lumpish’, however two days later after another performance of the same piece he described a ‘very fine audience. I don’t think a word – not to say an idea – was lost!’ and that audience was from Bury St Edmunds. There is a natural geographic rivalry between Norfolk and Suffolk, so this mini victory was well received.

Having finished my biographical performances I stepped up to the reading desk to perform The Trial from Pickwick. This was one of Dickens’ favourite readings and is the one that he performed more than any other during his years of touring. It is filled with wonderful characters such as Sergeant Buzfuzz, Justice Stareleigh, Mrs Cluppins and, of course Mr Pickwick and Sam Weller, and pokes fun at the sheer pomposity of the legal system. The reading went well with plenty of laughter and when I concluded I received a very warm round of applause.

I was rather worried that I had over run somewhat, but nobody seemed to mind and I called to mind Jill’s words from earlier, ‘Remember, we are on Suffolk time here’. I returned to my kitchen and changed into my Doctor Marigold costume before returning to the hall, removing the reading desk and screen, and replacing it with the little wooden steps, the 3-legged stool, the rustic wooden box and a kettle and shovel which go to make my set for my favourite performance.

When everyone was seated I took to the stage in the character of the lovable cheapjack and told his story with all of its highs and lows. The audience were transfixed and were with me the whole way through (even when a rather loud motorcycle revved his engine in a most un-Victorian manner outside). Charles Dickens’ tour manager George Dolby described how the audiences gasped when a revelation is made in the last two lines of the performance, and I would love to be able to tell Dolby and his Guv’nor that a 21st century audience gasp in the same way – there was hardly a dry eye in the Guildhall on Thursday evening, and I include my own in that. It was a wonderful performance and one I was extremely proud of.

Margaret returned to the stage, clearly very moved, and thanked me, and after taking more applause I made my way to the back of the room and signed some copies of my books and chatted to the audience as they left. It rounded off a most enjoyable evening.

Margaret had very kindly offered me hospitality at her home, and when I had changed and packed up all of my things into the car she rode with me and directed me to her wonderful Victorian house where her husband Roger was waiting. We sat around the kitchen table and chatted as we ate some bread and cheese and sipped a little wine. We finished the evening with a cup of tea and my mug had a facsimile of the Magna Carta on it. Margaret’s email address features the word magnacarta and its turns out that she is a renowned export on the subject. This was a curious coincidence as earlier in the week on a run I had been listening to an audiobook of ‘Three Men in a Boat’ in which the narrator imagines being present at Runnymede in 1215. As I listened I realised that I know so little about such an important moment in English history and vowed that I would purchase a book on the subject and educate myself. So, in Margaret’s kitchen, as I sipped my tea, I mentioned to her this happy twist of fate, and explained that other knowing that the Maga Carta had been signed at Runnymede I knew little of the political background and circumstances. Well, I had clearly failed my first test, for Margaret pointed out that ‘It was never signed! It was sealed!’ Oops!

It was late now and as the adrenaline that had coursed through my veins that evening gently dissipated, I began to feel tired and said my goodnights to Margaret and Roger.

I slept very well and next morning enjoyed a simple breakfast of fruit juice, muesli and toast. Before I left, Margaret showed me their beautiful garden, as well as asking me to sign their visitor’s book. I had been their first guest, other than family, since the first lockdown of 2020. Soon it was time to get on the road and as I drove away I reflected on a very happy day in the company of kind and hospitable people, and I hope that the gap before the Dickens name returns to the town will be a little shorter this time.

To the North: PIES, Unitarianism and a Palace Stand-In

Tags

Charles Dickens, Dickens and Staplehurst. A Biogrpahy of a Rail Crash, PIES, Preston Playhouse, Staplehurst Rail Crash, The Signalman, Wentworth Woodhouse

On Sunday morning I left my Oxfordshire home at 9am, to drive to the North West of England, specifically to the city of Preston in Lancashire where I was due to perform The Signalman at a matinee and evening show. My venue was to be The Playhouse, a lovely small theatre in the town, and the show was promoted by PIES, a charity which raises money to help feed and educate children in southern Africa, the acronym standing for Partners In Education Swaziland

This was the third appearance for the organisation, and I have gained a loyal following in Preston, having previously performed Mr Dickens is Coming with Doctor Marigold, and A Christmas Carol. My preparations for the trip were less smooth than they might have been for, as regular readers will remember, I had left an important prop for The Signalman in Leeds following my appearance there a few weeks ago, and somehow needed to get it back to appear on the stage in Lancashire. I had originally thought that I would drive to The Leeds Library on the morning of the show and pick the piece up, but understandably the Library does not open on a Sunday. However, Carl, the manager there, offered to meet me somewhere convenient so that we could make the exchange like some seedy contraband deal. This arrangement would mean a very early departure, as I would have to drive for three hours to get to Leeds, meet Carl, and then drive a further 90 minutes to Preston, perform two shows and then drive another 40 minutes to Manchester, the reason for which will become apparent later….

In the week prior to the trip I had an extremely apologetic message from Carol to say that when making our arrangement he had temporarily forgotten that Sunday was his daughter’s 18th birthday and an absence of an hour or so wouldn’t be terribly well thought of within the family circle. For a day or two we toyed with the idea of me going to his area of Leeds, but that would add another hour or so to the journey, and didn’t seem to be a terribly good idea for anyone involved.

The prop in question is a representation of a block signalling console, described in the story as a ‘telegraphic instrument with its dial, face and needle’ I had taken a photograph of a genuine unit at a local railway preservation centre and fixed it to an antique wooden display box. Using two large wooden rods this unit could be slotted into corresponding holes drilled into the top of a clerk’s desk. The unit was far too large for accuracy’s sake, but for a piece of theatrical furniture it has done the job just fine over the last few years. Alongside the signalling unit sits a small wooden box with a brass bell on top of it (again, referenced in the text), and on the Saturday before my show I suddenly had the brainwave of printing a much smaller photograph of the equipment and sticking it to the back of the little wooden box, and using that in lieu of the big wooden box. I contacted Carl and said that I wouldn’t interrupt the birthday celebrations and would instead retrieve the prop from the library itself on Monday morning.

So, without the pressure of driving to Leeds, I set off at 9am with the various pieces of furniture rattling away in the back of the car. It was a beautiful sunny day, and on a Sunday morning the traffic was light, which allowed me to arrive in Preston with plenty of time to spare, indeed enough to stop for a cup of coffee and a lemon drizzle muffin at a nearby motorway service station.

I pulled up outside The Playhouse Theatre at 12.45, having arranged to meet at 1, but the loading doors were already open as a gentleman was busy removing a set from the previous evening’s performance. I went in and was met by a manager at the theatre, and we briefly discussed certain technical requirements for my shows, before the team from PIES arrived. Joe and Karen Comerford first saw me perform in Liverpool a few years ago and got in touch to book me to perform on behalf of the charity. Having exchanged greetings and made suitable enquiries as to how we had all made it through two years of Covid, we all got on with our respective jobs – Joe and Karen setting up the raffle, while I placed all of my furniture on the set and tried to convince a slide projector that it might like to talk to my laptop, sadly in vain.

My show was to be in two acts, the first of which was my talk about the circumstances behind The Staplehurst Rail Crash, and the writing of my book on the subject. I have a short PowerPoint presentation to go with the talk, made up of a few photographs from the book, and it is nice to give the audience something else, other than me, to watch, but on this occasion they would have to put up with my features, as we couldn’t get the projector to co-operate.

The show was due to start at 2 o’clock and a goodly sized audience were already crowding into the bar. The front of house manager asked if we could open the doors, and I retreated down to the dressing rooms in the basement to change into the casually formal combination of trousers, open-necked shirt and jacket, that I wore for my first publicity shot as a writer.

I looked over my notes for the first act talk and panicked as to whether it was actually long enough. I had said to the front of house team that the first act would be around 40 – 45 minutes, but I wasn’t confident. Despite having given this speech on a few previous occasions I am still not comfortable in delivering it, which once again shows my insecurities of speaking as myself, rather than in the fantasy world of one man theatre.

Just before 2 Joe came to find me and together we waited in the wings of the stage until it was time for him to walk onto the stage and introduce me. I walked into the light to generous and welcoming applause, and began to speak. The talk concentrates on the circumstances of the terrible crash itself, as well as some of the personalities involved, and is lifted directly from the book which, I pointed out on a number of occasions, would be on sale during the interval and after the show. When I got to the end of the talk, I spoke briefly about the second half and then left the stage with the sound of applause in my ears. I checked my watch: 45 minutes, I needn’t have worried about a thing!

Back in the dressing room I changed into the all-black costume that I favour for The Signalman and waited while the folk upstairs drank, ate and hopefully purchased books!

I was on much firmer ground when I returned to the stage, although of course was unable to deliver my usual introduction to The Signalman, which is a brief description of Staplehurst, having given a long description in the first act, so launched into the story itself quickly. The simple black stage with the few pieces of furniture arranged on it (including the little telegraph unit, making its debut), provided a suitably sparse atmosphere, and my red light shone dimly as a portent of the doom that was to follow.

When the the three distinct acts of the story had played out I took my bows and then returned to the stage to take questions, as I did all of the way through last year’s American tour. I chatted for around twenty minutes and it was great fun, gently batting away the constant requests to make a dramatisation of Hard Times, in which Preston was the model for Coketown. They will grind me down in the end and I will relent, but the thought of trying to achieve an accurate Lancashire accent under such local scrutiny is a nerve-wracking one!

After the show had finished I made my way to the foyer, to chat and sign books, which were selling well. Gradually the audience drifted away and the foyer was quiet once more. Joe and Karen said that they were popping home for a bite to eat and I retreated to my dressing room where I ate a salad am some fruit that I had brought with me, and passed the time by reading a magazine, playing some backgammon on my phone and running through the lines again.

After a while in my subterranean lair I became aware of voices upstairs and went to see who was about, and was surprised to discover that there was quite a gathering of PIES volunteers, including Norman and Lynne who have kindly provided hospitality to me in previous years. They were surprised to see me, for they assumed that I had walked into town, taking advantage of the sunny afternoon. ‘Gerald! We have some food for you’ and a plate loaded with pieces of pork pie, crisps, salad and a hunk of cheese was produced. It would have been rude not to accept the offering, and my salad had been a small one, so I sat down and tucked in to all but the cheese (dairy products effect the throat, and I avoid them on performance days). Soon the second audience began to arrive and it was time to repeat the earlier process.

The first act went well, and prior to the second commencing Norman went onto stage and said a few words about PIES. The fundraising work that the group undertake helps children in Swaziland, and he pointed out that the money raised from the day’s events would feed 40 children for an entire year, which is quite a thought. Norman then went on to announce the winning raffle tickets: ‘the first is a blue ticket, 34, then another blue ticket, 107, yet another blue, 63. A yellow ticket, 73, and another yellow 137, blue 89 and another blue 43….’ and so it went on. From the wings it dawned on me that all of the winning tickets that had been drawn were in the colours of the Ukranian flag, as if somehow we were able to show our support for the extraordinary spirit that the citizens of that nation are displaying in such terrible times.

When Norman had finished I returned to the stage and performed The Signalman once more, and I was particularly pleased with how it went – the piece is in a good place at the moment.

After I had bowed I once again opened the floor for questions and one was about Dickens’s spirituality and by extension his attitude to religion. I told the audience that Charles had a strong faith and followed the teachings of the New Testament, but as far as aligning himself with any particular religion was concerned he had a distrust of anything organised (seeing the human influence as one of potential corruption), so followed his own faith rather than being dictated to by others. I also talked about the little book based on the gospels which he wrote for his children, ‘The Life of our Lord’. I moved onto other questions, and after a while a gentleman in the front row put his hand up and asked ‘I thought Dickens described himself as a Unitarian?’ I picked up from my previous answer and continued to plough my furrow of not trusting organised religion, although, I conceded, he certainly did not dismiss people or organisations that he saw were doing good and would support such groups. The end of my answer was met with a sort of ‘Hmm’ sound. It is amazing how a single syllable can say so much, and this one said ‘you really don’t know what you are talking about, but OK, I will let it drop!’

The incident niggled at me, so when I got home I did a bit of research about Dickens and Unitarianism, and discovered that, in a way, we were both correct. When Charles visited America in 1842 one of the first people he met in Boston was Dr William Ellen Channing, the city’s leading Unitarian preacher and he was very impressed. Other leading Bostonians, including Henry Wadsworth Longfellow, followed Channing, and Dickens become more and more enamoured with the doctrine, which purely followed the teachings of the New Testament without, as he wrote once, forcing the Old Testament ‘into alliance with it’. When he returned to England he began to attend the chapel in London where the first Unitarian congregation had met, and later another chapel presided over by the Reverend Tagart. He was a regular attendee for nearly two years, and even afterwards he would occasionally return to listen to particular sermons. He was not only attracted by the spiritual comfort that the Church offered but also by the passionate stance on the campaign for abolitionism, a cause that was particularly close to his own heart.

I hope the gentleman from the front row is reading this and will accept an apology for my ignorance into this aspect of Dickens’s life. In a way we were both correct, for his was not a life long member of the Church, but it certainly had a major effect on his life at that time.

Back in The Preston Playhouse the question and answer session ended and I returned to the foyer, where there was not much to do, other than chat, for all of my books had sold out during my first show!

Having changed and made sure that I had retrieved everything from the dressing room, I returned to the theatre and discovered that Norman and Joe had moved all of my props and furniture to the loading door, so my get out was much quicker than it might otherwise have been. When the car was full, and I checked carefully that I had everything on this occasion, I said goodbye to Norman, who said that he was sorry I wouldn’t be staying with him and Lynne this year, as he would miss the Full English breakfast that Lynne has traditionally prepared in my honour!

On Sunday night, however, I had to drive to a hotel near Manchester, for I had two meetings in Yorkshire the following morning, and I wanted to break the journey a little. As I drove there was the most remarkable giant amber moon sitting low in the sky, which looked as if it were a special effect from a science fiction film. I reached my hotel at around 10.30 and called my new best friends at Uber Eats for a late night pizza as I gently wound down from a long but successful day.

Monday Morning

On Monday morning I enjoyed a large breakfast and wondered what Norman was eating back in Preston. At 9 o’clock I checked out and headed for Leeds where I was at last reunited with the large box that I had left there, although the little replacement had done an admirable job standing in during the Preston performances.

From Leeds I headed towards Rotherham where I had a meeting at one of the most impressive stately homes in the country. Wentworth Woodhouse is a truly impressive pile, but without the fame and popularity of Chatsworth or Blenheim. The house is undergoing a major restoration project and there are many events taking place to help raise money to that end. The building is also used as a filming venue and has doubled up as Buckingham Palace in various TV dramas and big-budget films

I am due to perform there later in the year and wanted to see the spaces where I would be, and to check acoustics, which can be problematic in some large spaces, and came away very excited at the prospect of returning in July.

As I drove up the long, serpentine driveway, my obligations in the North of England were done and I was soon on the M1 heading home.

A New Venue

Tags

Casino Royale, Charles Dickens, Doctor Marigold, Ian Fleming, Leeds, Leeds Library, Leeds Lit Fest, Myster of Edwin Drood, The Signalman

Throughout my working year most of the venues that I perform at are repeat bookings, meaning that I know who I am going to meet, where I am going to change and how the room feels. The fact that I have so many requests to return is a wonderful compliment, and makes me feel very satisfied about what I am doing. Occasionally, however, I will receive an email out of the blue asking me to visit a new city and organisation and this is always exciting but slightly nerve-wracking. Such a thing occurred last year when I was contacted by The Leeds Literary Festival with a request to appear as part of their 2022 event. In fact they had wanted me two years ago, but the onslaught of Covid put paid to that. We communicated via email and phone until we settled on Wednesday 2 March as a suitable date, and I would perform my double bill of The Signalman and Doctor Marigold in The Leeds Library.

The day dawned grey and rainy and I spent the morning loading the car up with the various props that the two shows require, and it is quite a collection: for The Signalman I have a large clerk’s desk, which is in two parts – stand and top, a small table, a chair and a stool. On top of the desk is a large wooden box with the image of Victorian signalling equipment pasted to the front, representing the ‘telegraphic instrument with its dial, face and needles’ that Dickens describes. There is a large book, a railwayman’s lamp (complete with a battery-operated candle to make it flicker) and a new addition – a theatrical spotlight (or at least, an interior designer’s approximation of one) on a stand to double for the dismal danger light at the mouth of the tunnel which is so important to the telling of the story. For Marigold I have a small set of wooden steps, a stool (a smaller one than that which features in The Signalman), a wooden crate, an anodised pail with a small metal shovel, a kettle and a rolled up blanket. Alongside all of the hardware I had to pack two costumes and of course a box containing copies of ‘Dickens and Staplehurst’ All of this filled pretty well every square inch of a Renault Kadjar and it was with a sense of relief that all of the doors shut successfully.

The drive to Leeds takes about three hours and I left with plenty of time in hand just in case the notorious M1 roadworks should delay me. As it happened my journey was very smooth and I had plenty of time to stop for lunch before arriving in the heart of the city at around 3 o’clock, ready to check in at my hotel, The Plaza Park. Being in the very centre the hotel had no car park, but I was able to leave the car for a few minutes in order to get directions to a large parking garage nearby, from where I could easily walk back. I had an hour in my room, during which I had a shower to freshen myself up before going to the venue.

Even though the Library was only a five minute walk from my hotel, I needed to drive so that I could unload all of the furniture and props ready for the show, but as I made my way to the car I had a phone call from Carl, who had booked me. In our various emails I had mentioned to him that I would arrive at the library at 4, unload and then go to park the car, and he had suddenly realised that he hadn’t told me that there was no vehicular access to the library at all, so I would need to park in another parking garage, where he would meet me and help me unload.

By the time I was finally parked on the second level of the QPark garage it was almost 4.30 and I had agreed to appear on a Leeds Lit Fest live podcast at 5, so other than taking my costumes and a few smaller articles, Carl and I decided to delay the unloading process until later. We took the lift down to the ground level and walked along a typical city centre street, through the bustle of a weekday evening, past a McDonalds and a Starbucks until we arrived at a rather nondescript door, squeezed in between a branch of the CoOp Bank and a Paperchase stationery shop.

A blue plaque on the wall suggested that the may be more to this building than met the passing eye, and Carl pushed the door open and I found myself in a small marble hallway at the bottom of a curling grand staircase, which lead up to an Aladdin’s cave filled with the treasure of books!

The Library was founded, so a small wooden sign informed me, in 1768, but moved to its current location in 1808. At the top of the stairs is ‘The Main Room’ and this is the modern section of the library where up to date novels, audiobooks and DVDs can be found but, even so, it has a wonderfully antiquated feel to it, with an iron spiral staircase at one end and books packed into the shelves from floor to ceiling.

Through a small door between shelves and then I am in the ‘New Room’ which was built 140 years ago. It was in the New Room that I was to perform and I had to pause for a moment to take in the grandeur and splendour of my surroundings. The room was narrow and again the walls from floor to ceiling were lined with books over two stories. Opposite my small stage was a magnificent wooden staircase leading to the upper level and around 70 chairs were laid out in the body of the room, this was going to be a wonderful space to perform in.

For now though, I had to concentrate on the podcast and was shown into the Old Librarian’s Office, which would also become my dressing room.

There waiting to greet me was Molly Magrath, who would be interviewing me, and huddled behind two laptops was Jack who would be looking after all the technical side of the session. We had a few minutes before the broadcast was due to start, so they pulled out some gems from the shelves – a travel book dating back to the 1400s (the author never left England so it was a complete work of fantasy!), and a second edition of The Hobbit. Molly also handed me a beautifully bound first edition of Casino Royale by Ian Fleming and this was a real treasure for a Bond fanatic like me to hold.

5 O’clock came round and without ceremony Molly was talking to the little webcam about my visit, and we had a great conversation about the theatricality of Dickens and how I prepare my shows for the stage. It was a really good interview, not too rigidly bound by questions, just a flowing chat. I had done a little research into Dickens’ visits to Leeds and unfortunately he hadn’t seemed to be too impressed by the City. He first visited in 1847 to give a speech at The Mechanics Institute. The visit was in December and he had a terrible cold, but the experience of Leeds wasn’t a pleasant one. He didn’t return for a further 10 years but his memories still burned brightly, for he wrote home to his sister in law on that second occasion that ‘we shall have, as well as I can make out the complicated list of trains, to sleep at Leeds-which I particularly detest as an odious place-tomorrow night.’ Charming!

He did, however, return to Leeds 3 further times to give readings, and indeed actually performed Doctor Marigold, as I would be doing later on the evening of March 2.

When Molly wrapped the podcast up I went to find Carl and together we walked back to the car park and began the task of shifting all of my stuff back to the library; it took as three trips to get all of the furniture into the lift, down to ground level, past McDonalds and Starbucks, into the front door, up the narrow staircase, through the Main Room and into The New Room. And it was raining!

At last everything was in and I began creating the set for The Signalman. The stage was not large, but there was plenty of room to place the clerk’s desk with the telegraphic instrument and bell atop it, and the stool beneath. I placed the table a little downstage and placed the chair at the back, so that the Signalman, unused to visitors, could grab it, dust the seat off, and place it for the stranger to sit on. Immediately behind the stage was a display case which was the only bit of furniture in the room that was not an antique, and I was able to put my new red light on top of it, meaning that it towered above the scene in a suitably imposing manner. When the first act set was in place I took the opportunity of running through a few lines and as I did another member of the library staff, Ian, busied himself putting programmes on chairs and preparing a makeshift bar for the evening. When I had finished my brief rehearsal Ian introduced himself and asked if I would like to see the basement, an offer that I was delighted to accept. We descended into the bowels of the building where there is a huge collection of very old books, many in a terrible condition. Ian explained that in days of yore the library had been lit by gas jets which had created acidity in the air causing irreparable damage to the leather bindings. The plan is to restore every volume, but at a cost of over a million a shot, that project is a very long term one. I looked along the shelves and there was a first edition of The Mystery of Edwin Drood, Dickens’ final, unfinished, novel. It was such a treat to hold in my hands something that connected me so closely to my great great grandfather. Elsewhere in the basement were racks of periodicals and newspapers just waiting for keen-eyed researchers to discover some wonderful long-lost fact. As we ascended the stairs once more, Ian said wistfully that he never tires of showing off the collection in the basement and that everybody notices something new.

Back upstairs I retired to the Librarian’s Office, my very grand dressing room, and ate a small salad and some fruit before getting into costume for the first act. Outside, the audience gathered and began to take their seats. Ian had told me that this was the largest audience that the New Room had held since the beginning of lockdown. At 7.30 Carl poked his head in and asked if I was ready, and on my replying ‘yes’, he said a few words of introduction and then left the stage to me.

I welcomed the audience, made reference to CD’s rather uncomplimentary words about Leeds, and then launched into a brief description of the circumstances behind the Staplehurst rail crash, vital to both the telling of The Signalman and to the selling of my book at evening’s end. Soon I was into the dark, claustrophobic ghost story and , as ever, I surprised myself by the sheer physicality of what is a very short performance. The emotional intensity of the piece is exhausting and I continually find that by the time I finish every limb is aching from the tension.

On my concluding the story and then announcing the spooky fact that although Dickens was not killed at Staplehurst, he did die exactly 5 years, to the day, after the crash, there was a gasp from the audience, partly in surprise and partly out of relief that they too could relax back into the real world.

Having left the stage and allowed a little time for the audience to drift away, I started clearing the furniture from The Signalman away and setting the stage for Doctor Marigold. In the office I changed into a new costume (long corduroy Victorian-style trousers, rather than the breeches I used to wear), and after twenty minutes or so I returned to the stage to perform my favourite show in the character of the ever resilient and cheerful cheapjack, Doctor Marigold. At one point in the monologue, Marigold describes building a cart with books in ‘rows upon rows’ and so the book-lined walls of the New Room formed the perfect setting for the second half of the story. The audience were rivetted and entranced, as audiences tend to be when witnessing this little gem of a story for the first time.

I finished and left the stage and there was generous and warm Yorkshire applause when I returned to take my bows. Having taken a few minutes to cool down, I made my way back into The Main Room, where I chatted, sold and signed my book, until the audience drifted away into the night.

I changed back into everyday clothes, having briefly donned my black frockcoat again for a couple of photographs that Ian wanted to take on the New Room staircase, and then faced the proposition of taking all of my furniture downstairs, up the street, into the car park, up the lift and back to the car again, however Carl suggested that I actually left everything in the Library, for in the morning the bollards closing off the pedestrianised street would be down, allowing access to the shop fronts for deliveries, and so I would be able to drive to the front door, which would make things much easier.

I walked through the streets of Leeds, back to my hotel and was delighted to discover that they offered a 24 hour room service, so I ordered a plate of fish and chips and let the adrenaline of the evening gently subside, until eventually I fell asleep in the early hours of Thursday morning.

I woke with a start at around 7.40, and decided to get the car loaded before having breakfast, so I quickly showered and retrieved my car, before driving slowly past pedestrians hurrying to work, along the pavement of Commercial Street. Carl and the library caretaker were there to assist and in no time all of my furniture was squeezed into the Renault – actually, we seemed to have hit on an improved system of loading, in that there seemed to be more space than when I had loaded up the day before.

I said farewell to Carl, promising that I would endeavour to find a date for a repeat visit in the winter tour, and returned to the hotel where I enjoyed a hearty full English breakfast before getting on the road for home. The journey was smooth once again and I arrived back in Oxfordshire at midday.

As I unloaded the car I discovered the reason that loading had been so easy, for I had left the ‘telegraphic instrument’ prop in the library. I will next need it for a performance in Preston, Lancashire, at the end of March, so Carl and I will have to work out how to reunite it with the rest of the set, but that is all for another day. For now I could reflect on a wonderful evening, in a beautiful setting, and a new venue for my future tours.