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.

Two Nights at Highclere

Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A Quiet Day

Tags

A Christmas Carol, A Christmas Carol film, Byers'Choice, Panera Bread, The Great Gatsby

Wednesday was another travel day, and to be honest for the most part it wasn’t a particularly thrilling one! I was reversing the journey that I had taken two days previously, for I was returning to New England to continue my tour in New Hampshire.

I took a leisurely breakfast and then, having caught up with some emails and admin, watched TV for a while. I had decided not to leave until after 10am to give the commuter traffic into New York time to clear. The weather outside looked beautiful, with a bright sun in a clear sky, it was to be a perfect day for driving.

I packed up my bags and at 10 on the dot I checked out and loaded up my car. I set the SatNav for the good old Beechwood Hotel in Worcester, so that I could retrieve my two costume shirts, and then started North. The Great Gatsby was still playing through the audio system, and as I rose up onto the Throgs Neck Bridge to leave the Island, and looked at the skyline of Manhattan to my left, a quote from the book which had appealed to me the day before came back: ‘The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.’ When I crossed the bridge two days before the skyscrapers had been hazy, backlit by a setting sun, but now they were clear, sharp and starkly defined. It seemed impossible that there was an inch of space left on Manhattan and quite how that little strip of land can support the sheer weight of concrete, steel, and glass is beyond my unscientific mind!

The traffic was pretty clear, and as I left New York City behind me the driving seemed to become less aggressive and intimidating. Gatsby came to its conclusion, and I instead started listening to the soundtrack of The Blues Brothers, which is an excellent soundtrack for a road trip.

After a couple of hours on the road I found a Panera Bread, at Berlin CT, and had a lovely, leisurely apple salad and a coffee, before driving on towards Worcester. When I was driving in Massachusetts a few days before I had noticed that all of the road intersections have been renumbered, so every exit has not only the official green sign informing the driver what junction this is and where it leads to, but also a smaller yellow one reading ‘Old Junction…’ and then whatever the number may have been. I had first assumed that this change in numbering had only been on the route between Worcester and Sutton and was the result of some new construction, but it seems to be a state-wide phenomenon. You may suppose that there may be some logical reason behind it, that all of the new junction numbers would be two different from the old ones, for example, but no: sometimes new junction 13 was old junction 10, whereas further along the road the new junction 25 was the old junction 11 – very curious, and I wonder how long the signs will need to stay until everyone is confident with the new system.

I pulled up at The Beechwood and in just a few minutes had been handed the bag with my two shirts, so was able to continue my journey on towards Nashua, New Hampshire. There is something beautifully familiar, and yet confusing, about driving to New Hampshire, as so many of the town names come from old England: signs for Bolton, Southampton, Dunstable, Manchester, Billarica, Tewsksbury and many others paint a geographically challenged map of Britain.

Soon I had arrived at my hotel and as I walked from the car to the lobby with no coat on, I recalled that last time I was here in 2019 it was snowing heavily and at that time I was glad of my all-wheel drive car, whereas this year it has so far seemed to be a rather redundant luxury.

Jody Gage, my event sponsor in Nashua, had reserved a very nice hotel room for me, a mini suite with a separate bedroom, which felt very grand.

I didn’t have long in the hotel, as I had been invited to supper at the house of an old friend, Sandy Belknap, who has worked on my Nashua appearances for many years and who also worked with Bob Byers and me last year to promote my film version of A Christmas Carol.

Although it was relatively early, it was dark as I drove to Sandy’s neighbourhood and colourful Christmas lights twinkled on houses and in gardens. It was a lovely evening, and so nice not to be in a crowded restaurant or bar, not knowing who is close by.

Sandy rustled up an extremely flavoursome chicken dish and salad, followed by some homemade chocolate chip cookies, and it was a very pleasant, relaxing evening.

Back at the hotel it was still early, but as my body clock is still playing tricks with me and I am continually waking at silly hours of the morning (although it is gradually getting better), I was ready for sleep and the episode of whatever detective drama I had started to watch played on unseen

Thursday promises to be a busier day!

New Connections

Tags

A Christmas Carol, A Christmas Carol film, Charles Dickens, East Meadow Public Library, Ebenezer Scrooge, Long Island, Marriott Hotels, Mid Continent Public Library, The Great Gatsby

Tuesday morning saw the first of what, as regular followers will know, is an important ritual on my tours: laundry. Having woken and written my blog and made my first coffee of the morning, I emptied the two bags of clothing that needed cleansing and sorted them into coloured and whites (the latter pile comprising mainly of the shirts I have been wearing in the show), but with the dilligence of an accountant, I discovered that my numbers were out: I had performed over two days at Vaillancourts, meaning that there should have been be four shirts, but there were only two. I let my mind wander back and remembered that I had hung two shirts to air in the closet at The Beechwood and must have left them there.

You may remember in yesterday’s post I made a big point about sweeping through my room multiple times to check that I hadn’t left anything there, and you may (quite justifiably) imagine that I wrote all of that already knowing that I had left the shirts there, ready to reveal my folly for comic affect today, but that is not the case! I had genuinely thought that I had everything with me, and that for once I hadn’t left a trail of belongings in my wake, but sadly a leopard does not change its spots so easily, and there were my shirts back in Worcester.

At the Marriott hotel in Uniondale I am situated on the 7th floor, and the guest laundry is in the basement, so early in the morning I bagged up what I did have to clean and made my way to the lift which took me down the eight floors and opened to reveal a warren of corridors, with no signs to guide me to the laundry. As if I were in a maze at some large stately home I started to explore, turning this way, then that, following a direction and discovering it led nowhere, until at last at the end of a long corridor I discovered a lost subterranean city comprising a salon, a gym and the laundry room.

I had a bag of quarters with me, which I collect during my travels for such circumstances, but imagine my surprise to discover that these particular machines didn’t take quarters, they actually had terminals for credit cards.

My emotions at this point were conflicted, on one hand there was an amazing realisation that this innovation meant that the days of hauling bags of loose change around the country will soon be behind me, but on the other end of the scale was the sheer frustration that my wallet was up in room 768! Back through the corridoors, back up the lift, back to my room, collect my wallet and back down again. Soon two machines were spinning and splashing whilst I went up to the lobby to have some breakfast.

The restaurant at The Marriott is spread out around the spacious ground floor, and diners were dotted here and there lost in their own worlds. I was greeted by a lady dressed in jeans and a sweater who I had taken to be a customer, but who asked me if I would like orange juice and coffee, and then I attended to the impressive buffet. As I sat at my table another guest came in, an older man with a white beard (no, not HIM!), and a t shirt, it soon became obvious that he is a very regular guest as almost every member of staff came up to greet and converse with him, and he had a gentle charm with each, asking about their Thanksgivings, and their families, discussing their jobs and their lives. Quite how he had time to eat is beyond me, but he gave everyone as much of his attention as they needed, and did it with good grace. A very impressive individual who just by being in that restaurant, where everyone else sat at anonymous little islands, spread happiness and made people feel good about themselves. OK, on reflection, maybe he WAS that guy with the white beard, after all!’

After breakfast I returned to the laundry and loaded my clothes into the drier, which after another swipe of the credit card, started rumbling away, and I went back to my room to be lazy for an hour.

By ten o’clock my morning chores were done and I could go out for the day. As I was on Long Island, I had decided to visit the area which had inspired one of my favourite American novels, and ater a little research I set my sat nav to take me to Great Neck, better known in the literary world as West Egg, the home of Nick Carroway and Jay Gatsby. I had even downloaded an audiobook version of The Great Gatsby to accompany through my travels.

The first part of my drive took along one of the parkways that run the length of the island, and which apparently act as a guide to the international jets flying into JFK airport, for a constant stream of Boeings and Airbuses flew low over me with landing lights blazing and wheels down. Eventually I reached Great Neck, and drove to a neighbourhood that seemed to be the sort of place where Gatsby could have stood in his grounds gazing at the green light at the end of Daisy Buchanan’s dock across the water. Unfortunately, I could’t say for certain, for there was no way to get to the water’s edge, all of the properties privately protecting their own stretch of ocean front. The best glimpse that I got was through the locked gates of a yacht club.

I drove on, still listening to the book. I had studied Gatsby at college but I have either forgotten, or never realised, how funny parts of it are, and I found myself laughing out loud in the car. Of course, a student will never find a book funny, especially if a teacher says: ‘Now make a note of this, this is the author using humour for effect, this is a very funny passage…..’

My drive took me further east to Port Jefferson, where I alighted and strolled around a nature reserve and said hello to a family of swans who glided curiously up to me, and deciding that I was of no interest, glided away again.

The weather was cold, so I didn’t walk for long, but returned to my car to cross the island to the south shore and then ‘home’. Whilst I drove, I called the Beechwood Hotel and inquired about the two white shirts and to my amazement they said yes, they had them, and could I pop by and collect them? By a fortunate quirk of this year’s tour, it so happens that I will be driving straight past Worcester again on Wednesday, so a slight detour will not affect me at all. It is amazing when the stars in the universe all align and everything works out.

Finding the ocean at the south shore proved to be as difficult as finding it in the North had been and as flurries of snow were starting to swirl, I decided to head back to The Marriott. I had a couple of hours before I needed to go out, so I flicked through the TV guide to see what was on and to my delight discovered that Apollo 13 had just started, so I wallowed in nostalgia for a while – nostalgia for the events themselves, and for the film, which I remember watching for the first time in one of the large London cinemas and feeling the whole floor trembling during the lift-off sequence. The TV channel that was screening the movie gave it a rather uninspiring description that really didn’t do justice to the bravery and ingenuity of the characters involved, it read: ‘April 1970. Astronauts try to return alive.’ Not thrilling. I wonder how the same TV company would describe A Christmas Carol? ‘December 1843. Man sleeps and wakes kinder.’

As I watched the film, I also did some research into new Covid regulations that have been announced this week in the UK and discovered that I now have to take a PCR test on my return and not a LFT one. These tests have to be booked and paid for before a passenger returns and I had already booked the previously acceptable Lateral Flow Test kit, but now I had to spend another £50 for the PCR. These tests (one prior to each of my departures from the UK and 2, now 3, for my returns) have considerably added to the expense of this year’s tour!

As Jim Lovell, Jack Swigert and Fred Haise came back to Earth, I gathered a costume shirt and black socks for the evening and made my way to the East Meadow Public Library where I was due to perform. On entering the building, I instantly felt at home, for it was like returning to one of the branches of The Mid Continent Public Library in Kansas City. I was greeted by Jude, who had kindly treated me to supper the evening before, and she showed me to a room downstairs which was to be my dressing room. Boxes of pizzas and a bowl of salad sat on the table for the staff to grab as they made preparations for the evening.

The actual performance was to be in a small auditorium on the main level and when we entered, the floor was covered with leads and cables as the sound system was being set up. The acoustic in the room sounded pretty good but we tested the microphone anyway, and my sound man (whose name, I am ashamed to say, I never caught), did a fine job in balancing the levels. We then went through all of my sound cues, rehearsing each one so that he had an idea as to how to bring the effects in and how to fade them out again, and when I needed to speak over them. He was very diligent and as I left the room, he began to clear his equipment away and tape down the cables.

Jude had sourced items for the set from a prop hire company and so Scrooge had a very nice chair and table, but unfortunately, we didn’t have a hat rack to hand, so I simply placed another table behind the chair, on which I would be able to lay the hat, cane and scarf as required during the show.

Back downstairs I set to signing copies of ‘Dickens and Staplehurst’ which had been pre-ordered, and when I had finished that, changed ready for the 7pm start. It is always an interesting challenge coming to a new venue – the show doesn’t change of course, but the atmosphere around presenting it does. For example, at somewhere like Vaillancourt’s or at Byers’ Choice the whole team has done this so often that we all know exactly how it is going to work. Likewise, the audience at those venues is usually made up with a large percentage of people who have attended multiple times and know the style of what they are going to see and are excited to see it again; their anticipation also gives a sense of confidence to the ‘newbies’ in the crowd. But in a venue such as The East Meadow Library it is all new, so there is a sense of heightened consciousness and even nervousness in the build up.

Just after 7 Jude welcomed the socially distanced and masked audience and then handed over to me. The music started and I walked onto the stage. As was to be expected, the audience was quiet at first, not knowing if they were going to see a simple reading, or a rather dry Brit reciting a Victorian novel (albeit a much-loved one), but soon they began to warm up and I began to relax, meaning that the show got better and the audience became even more involved. It was a great shared experience for us all and by the end we were the best of friends!

Having taken my bows to a standing ovation, Jude turned the auditorium lights on and we started the Q&A session. There were quite a few children in the audience and their questions were especially good, one asked me ‘What is your real voice like?’, whilst another inquired ‘What is your favourite Christmas food?’ Other questions took us into the world of the minor characters’ back stories and of course favourite movie choices. But soon it was time to wind up and after taking another bow I returned to my dressing room as the audience left the building.

By the time I had changed it was just the library staff left and they congratulated me on the show as we all packed our things up.

A new connection has been made on Long Island and hopefully it is one that we can extend to future years and, maybe with restrictions eased, we can fill the auditorium to its capacity and really have a fun party. You never know, I may even be able to find the ocean…..

I said my goodbyes and drove back to the hotel where I had a delicious plate of grilled salmon and rice, before rising to floor 7 once more and bringing the day to a close.

For Dawn

Tags

A Christmas Carol, A Christmas Carol film, Build the Kingdom at Kids Castle, Byers'Choice, Charles Dickens, Dawn Byers, Dickens and Staplehurst. A Biogrpahy of a Rail Crash, Ebenezer Scrooge, Mr Fezziwig, Vaillancourt Folk Art

On Small Business Saturday (the day set aside to promote independent retailers after the huge corporate splurges of Black Friday and ahead of the online bean feast of Cyber Monday), I would be travelling to my old friends at Vaillancourt Folk Art, the true embodiment of a successful small business, to perform for the first time on the second leg of my tour. There can be few more welcoming venues in the USA, not only thanks to the very genuine friendship of Gary, Judi and Luke, but also thanks to the venue which is decorated in wonderful style. Old Ebenezer Scrooge’s gravestone is there, as is a replica of Charles Dickens’ reading desk, whilst a huge larger-than-life cut out of Mr and Mrs Fezziwig dancing hangs in the old warehouse where my dressing room is situated. The Vaillancourts ‘make Christmas’ and to be surrounded by so many seasonal icons means that one can hardly fail to put one’s best foot forward and do the best job possible.

The day didn’t get off to a promising start when I woke at around 1.45 am, but I dozed on and off for the next few hours before waking properly at around 5. I stayed in my room until around 7.30 at which point I went to have some breakfast in a deserted restaurant. It was a quiet morning, as I didn’t have to be in the small community of Sutton until 12. I spent the time catching up with some emails and admin for future venues on the trip (sending sound effects and stage plans etc), and generally lounging around in my room, even occasionally catching up on a few more winks here and there.

As the morning moved on, I made sure that I had everything that I would need for two shows, and at around 11.15 I loaded up my Rogue and set off through the streets of Worcester for the twenty-minute drive. The drizzle and snow of the evening before had cleared and it was a beautifully crisp bright winter’s day. If I had thought about it earlier, I would have stopped off for a brief walk in the spectacularly named Purgatory Chasm, which would have helped to blow the jet lag cobwebs away and energise me a little, but as it was, I had to speed by.

Vaillancourt Folk art is housed in an old warehouse building and features a large store selling the exquisitely produced hand painted Santa ornaments which Judi designs based on antique German chocolate moulds. To the right as you enter are the benches where artists carefully create the figures and beyond that a ramp which leads to the Blaxton Theater where I perform.

It was to the latter space that I made my way so that I could offload my costumes and bags and there I found Luke making preparations for the afternoon’s events. Luke is Gary and Judi’s son who over the last few years has become ever more involved in the company and is now starting to take over the tiller from his parents and to steer his own course.

As with all venues the Vaillancourts had to find a way of reducing audience numbers, to allow for a degree of social distancing, while still making the event profitable, and the solution that they came up with was to remover three rows of theatre seating and replacing it with a series of VIP tables each seating 2 people, which could be sold for a premium rate.

Luke has a background of hospitality and recently has been becoming more and more involved in the selling of fine wines, even commissioning a Vaillancourt wine, so the move towards a cabaret style event was a natural progression.

Luke and I chatted and I arranged the set as I wanted it, draping the red cloth over the chair and setting Bob Cratchit’s stool in the correct place, then I took my costumes into my dressing room at the back of the building.

We had plenty of time before the first show which was to be at 2pm, and having hung my costumes up I returned to the theatre where Luke introduced me to Curtis who was to be looking after all of the sound requirements for the two days. He produced a head mic which I always dread for they never stay hooked over my ears, but we did a good sound check and he roamed throughout the room to check the quality throughout. We then spent a little time discussing the various sound cues before we all went our separate ways to prepare.

In order to maximise the wine and glühwein sales Gary had asked for the two act version of my show this year, so I spent a while going over the extra lines in my dressing room. It was not, as I would point out later during the Q&A session, a question of remembering the lines per se, but remembering to actually say them: the one act version of the script is so grooved that it is easy just to skip over the spot where the extra passages should be.

Soon I could hear the audience gathering, so I started to get into costume and waited for the off. I paced around the warehouse unto Gary called to me ‘5 minutes!’ I stood at the door while he introduced me and then I made my slow way through the audience to the strains of The Trans-Siberian Orchestra. The afternoon audience were very obviously made up of hardened fans who were out to enjoy themselves, for they were coming in with lines a few seconds before I said them, as if two years had been too long to wait and they wanted to get to their favourite passages as soon as possible! When I performed Mr Fezziwig’s dance I even got a round of applause for my efforts.

I arrived at the interval and left the stage to applause, and spent the next 20 minutes pacing constantly to keep my energy levels up. As I walked to and fro, I noticed a huge crate in which my sound equipment had been transported in – ok not quite backstage at Live Aid, but it did look very impressive.

After twenty minutes Gary came to say that we were ready to get going again. The second act was dramatic and intense and went very well leading to a whooping standing ovation at the end.

As at all venues this year I was not doing a signing session, but instead took questions from the audience: one was an interesting variation of a common query – ‘which movie version would be Charles Dickens’ favourite?’ He probably wouldnt have liked the change to the ending of the Alastair Simm one, so the popular vote was out, maybe George C Scott, possibly, or even one of the animated versions (he would have been astounded by the modern technology which would be magic to him – a huge advance over the magic lantern shows which he enjoyed.)

Gary nicely asked me about my researching of The Staplehurst book which enabled me to promote it: He had ordered thirty copies for my performances and all had already sold, so he was busily taking orders for new stock.

After a few more questions Gary wrapped proceedings up and the audience made their way home while I changed back into my regular clothes. A between-show supper had been laid on and I joined Gary, Judi, Luke and other staff members to eat sandwiches, soup and salad, followed by the most delicious apple pie. The banter between the workforce was great and showed what a close-knit team the Vaillancourts have put together.

There was plenty of time before the next show so I excused myself and returned to my little dressing room where I curled up on a sofa and fell asleep. When I woke I looked at my phone, 5.45, plenty of time to get ready and dressed for the 7pm start (I usually get into costume with thirty minutes to go). Just as I was getting up and stretching Judi appeared asking me to sign an ornament for an audience member, goodness they arrive early here…and then Gary called, ‘5 minutes Mr Dickens!’

Somewhere our communication had broken down and the show was actually due to begin at 6! Any thought of leisurely building up towards the show was gone and I got into costume as quickly as I could, as Gary stood on the stage regaling the audience with whatever he could think of to say, until he saw me appear in the doorway (about 15 minutes after the scheduled show time), at which point, he said to the crowd, ‘So how do we welcome Mr Dickens to the stage?’ and everyone joined in, ‘Herrrrrrrresssss Gerrrallllddddd’

This performance was not destined to be one of my easiest! As I started to walk through the audience, I discovered that there was no route to the stage (the folk sitting at tables understandably having pushed their chairs back to watch the currently non-existent show), I took one turn and then another but still no path opened up to me and I had to rely on the generosity of those at the front to shuffle out of my way, which wasn’t very Scrooge like.

Unsurprisingly and completely understandably the audience were a little ‘terse’ with me, during the opening salvos without the joyous atmosphere of the earlier show, but I didn’t panic or try too hard, I just kept on doing what I knew works, and slowly everything settled down (although I didn’t get a round of applause for my dancing skills this time!) By the time that I left the stage for the interval there was plenty of applause and the damage was repaired. But I was SO annoyed with myself.

The second act went very smoothly and the audience had relaxed appreciatively (thanks in part to a second round of glühwein) and I once again took a standing ovation which had perhaps seemed unlikely 90 minutes previously…..

Once again, we opened the floor to questions and once again Gary gave me the opportunity to plug the book, telling the tale of how I nearly drowned (ok, maybe a slight exaggeration, but it makes for a good story) when I visited the site of the crash.

It was soon time to finish and Gary called an end to proceedings and I took the final applause and left the stage, still mentally kicking myself for my earlier mistake.

When the audience had left, I returned to The Beechwood Hotel where Gary, Judi and Luke joined me. Although I have another day with the Vaillancourts, this was sort of a goodbye to Gary and Judi as they are due to fly off to Germany to tour the Christmas markets with a group. Unfortunately for them Covid is starting to rear its head in mainland Europe again, and a large percentage of their tour group has cancelled, but they have a commitment and are flying on Sunday. We toasted our friendsip and the success of the day, and then I went to my room and they returned home to pack.

Dawn Hagan Byers

Dawn Byers

When I came off stage at the end of the evening show any petty thoughts about my day’s performances became meaningless. When I switched on my phone, I received the desperately sad news that Dawn Byers had passed away quietly, surrounded by her family.

Dawn, Bob and Pam’s sister-in-law, was one of the strongest, most strong willed, most courageous people you could ever have hoped to meet. Married to Bob’s brother, Jeff, Dawn was diagnosed with cancer over two years ago and has fought the fight with her typical energy and spirit.

When I perform at Byers Choice the most difficult aspect of the event is getting almost 800 people into the room and seated, and on these occasions all of the family and a lot of the staff are called in to assist. Dawn was in her element during these times, as she sat folks as if it were a military operation, collecting them at the door and conducting them to empty chairs before they even knew they had been helped. Nobody ever quibbled about where they had been sat, or asked to change, for Dawn, although short of stature, had ruled and you didn’t answer back. But this strength and authority was delivered with a smile, a laugh and great good humour. I always enjoyed watching her in action!

Dawn tackled her cancer with the same tough, yet cheerful spirit and over the last two years has posted a series of completely inspiring video diaries – being honest enough to tell us when she was scared or weak, but always looking forward with great positivity to the next course of treatment, the next trial, the next stage of her life.

It is typical that in lieu of flowers, donations are being invited for The Kid’s Castle community playground In Doylestown PA – a cause that Dawn had supported and championed for a long time. Future generations will therefore benefit from her legacy which is exactly as it should be.

I send my deepest condolences to Jeff, Ashlyn, Jake and the rest of the Byers Family.

A Christmas Joke

Tags

A Christmas Carol, A Christmas Carol film, Charles Dickens, Christmas Cracker Jokes, Dickensian, Tesla, United Methodist Church

Tuesday saw me back on the performance trail once more with a visit to my old friends in Burlington, New Jersey. When Pam Byers had first planned this part of the tour I was scheduled to be on the West Coast at Rogers Gardens nursery in California, but unfortunately due to many of their staff not being fully vaccinated Rogers had to cancel their booking. It is ironic in a way because the Rogers venue is an open air amphitheatre and would probably have been the safest place to perform of any on the trip.

With the Rogers’ booking gone a gap opened up and Pam approached a few venues to see if they could plan a date at short notice and the team from Burlington leapt at the chance. They only had two weeks to plan the event but they wanted me to return and were not going to miss this opportunity.

On Tuesday morning I spent time in the apartment and decided to begin work on a new book – a sort of autobiography concentrating on my memories of life on the road, which you never know may be available in time for next years’ trip. I spent an hour or two wallowing in nostalgia until the clock ticked round to 11 – time to leave.

Bob had very kindly given me the use of his car during my stay in Philadelphia, although I had not yet availed myself of it, but now I would need it to drive the forty minutes or so to the Broad Street United Methodist Church in Burlington. But this wasn’t just any car, this was Bob’s new acquisition – a Tesla. I have never driven one of Mr Musk’s creations before and I was most curious to get behind the wheel and see what the future of motoring is like. I was also very very nervous as the streets in the centre of Philadelphia are both narrow and busy. The first problem I had was actually getting into the thing. The ‘key’ is nothing more than a credit card but it has a picture on the back of how to unlock the car – one has to wave it over a sensor built into the door frame. I waved and waved, and swiped and pressed but open the door did not. I went to the other side and tried there too, still with no luck. I returned to the driver’s side again and continued my efforts and began to think that the key must have deactivated like hotel room keys sometimes do when you store them next to a smart phone. And then I realised what the problem was – the spot I was waving at was actually one of the many mini cameras built into the body of the car and the invisible sensor was elsewhere. At last the lights flashed, the horn beeped and the lock clunked open. If there had been a security guard watching I must surely have looked like car thief trying to break in.

Once loaded up I sat in the drivers seat for the first time. The Tesla is a clever bit of design because although futuristic (no dash, no dials, just a large i-pad affair in the centre), it is familiar enough so as not to be daunting to a driver. There are two pedals arranged in the traditional manor, break and accelerator (One can’t call it a gas pedal as no gas is involved, probably something like a ‘pace actuator’ would be accurate) and a circular steering wheel. If Tesla had wanted to they could have gone fully radical and used a hand operated joystick to control both speed and direction, but by designing their vehicle in the traditional layout it means that anyone can hop in and drive it. If they can get it moving that is. When Bob had driven me into the city from the airport two nights previously he had given me a few pointers, one of which was getting the car running – so long as the keycard is in the car all you need to do is select drive and go. I selected drive, but nothing happened. I selected reverse and the i-pad lit up with camera shots of the parking garage, but still no motor. I selected drive again: nothing. Silence. And then it dawned on me, for silence is what this vehicle is all about. I tentatively put my foot on the pace actuator and sure enough forward I crept. A very odd feeling to have no audible conformation that the engine, sorry the motors, are operating.

On the road the Tesla has to be steered and manoeuvred like any other car but it goes out of its way to help you, on the screen there is an image of your vehicle at the centre with ghostly real-time representations of all of the other cars and trucks around you – these the result of the mini cameras which I was so fervently waving the keycard at earlier. If space is tight a yellow warning flashes up and if space gets very tight an amber and then a red light flashes up, and with plenty of construction in the city I was in the amber and red zone a great deal. The great danger is that you spend too much time looking at the screen and not the road itself. One on the freeway I could really feel what the car can do and it is remarkable. The acceleration is instant and amazing, surging forward in a way that an internal combustion engined car just cant, but the real revelation is the ‘engine braking’ for want of a better term. When you take your foot off the pedal it is as if someone has thrown an anchor out, for the retardation is sudden, almost violent. It soon became apparent that you never have to touch the brake pedal, the speed actuator does it all – even coming to stop at traffic lights, just lifting your right foot is all that is needed. I assumed that the car is programmed to show brake lights when the slowing and this was confirmed when I noticed that the image of the car on the screen showed the red light at the rear at such moments.

And once you are used to these little eccentricities the Tesla becomes just another car and a very very nice one it is.

Before travelling to the Church I wanted to stop at a Walmart for I had a little idea for the show that I was keen to try out at Burlington (it is a funny thing, and a coincidence, but I have introduced many new ideas into the show at Burlington over the years). Having made my simple purchase I drove onto Broad Street and entered the familiar old building and there waiting for me was the old gang – Laura, Marcia, Brian, Bill and the whole crowd of volunteers who make my time there so enjoyable.

My dressing room had undergone a change over the past two years, it was no longer a quiet room for reflection but had been repurposed as a nursery – I had a lovely mat on the floor with a road system on it, so I could push my toy cars around making ‘brumm brumm’ sounds (no Tesla’s in toyland!) and a number of cots with changing mats on. In the centre of the room was table loaded with fruit and cookies and water and snacks.

As soon as I was settled Marcia brought me a teapot of boiling water and I pored myself a cup of tea in a china cup, which was very civilised.

Next on the agenda was to liaise with Brian over the sound cues. In past years the church hadn’t had a sound system suitable for operating multiple sound cues and we had made do with just the opening music to accompany my entrance, but this year Brian was set up with a laptop and amplifier, so we could go the whole hog with all six cues. Once the sound checks were completed I returned to the dressing room to prepare for the show.

During the performance in the auditorium at Omaha when the Ghost of Christmas Yet to Come first made an appearance I had folded the collar of my black frock coat up and opened up the lapels in an effort to cover my bright waistcoat, thereby creating a fully black spectral image, but the black and gold could still be seen. Would it work, I wondered, if I attached small Velcro pads to the lapels, meaning they could stay firmly sealed during those few moments, and that is what I had purchased at WalMart – little self adhesive Velcro dots. I fixed them to the coat and sure enough the effect worked (I looked rather like an assassin actually). But would it work during a performance? I was about to find out, for 2 o’clock was approaching.

With only two weeks to prepare for these two shows Laura hadn’t had much time to do any effective marketing, so the audience numbers were very low, but that didn’t really matter – just being there and doing a show was the important thing. Marcia later told me that in agreeing to stage my event the Church board had decided to restart their programmes of music and other entertainment in the sanctuary, so this was an important day.

When we were all ready to start Laura walked onto the stage and gave me a wonderful introduction as well as really plugging my book (mentioning that it is available on Amazon, which may be of interest to readers), and then left the stage to me. Brian started the music and I entered.

The first audience numbered only around 30, so it was quite a quiet show, but I did a good job. The ‘stage’ at Broad Street has always leant itself to the moments of audience participation (Topper’s girl, people jostling in busy streets, shaking hands on Christmas morning etc), but obviously this year there can be none of that, so I remained on the dais and performed as if on a theatrical stage, which although loses that joyful and playful connection between performer and audience, it does make for a tighter, more dramatic show.

I slightly spoiled the black ghost moment by closing the lapels on my coat too early, thereby revealing the effect before the ghost was mentioned, but the theory proved correct and with a little tweaking it should work well. At the end end of the show the audience stood and applauded, which was very gratifying and then we settled into a question and answer session. During this year’s trip I am not doing any signing sessions after shows, so we decided that it would be a good idea to do a little Q&A to make that connection between me and the audience. One lady asked what did I feel was the most important moment in the story, she believed that it was the revealing of the children Ignorance and Want, which is certainly true and that moment represents Dickens’ reasons for writing the story. As an alternative answer I mentioned the moment that Scrooge sees himself at the school and remembers the carol singer that he had sent packing: ‘I wish I could have given him a little something. It is an important part of the narrative because it shows that Scrooge’s reformation begins right at the very start of his journey – after that he wants to change and when the second ghost comes to visit Scrooge actually says – ‘I went forth last night on compulsion, but I did learn a lesson that is working for me now. Tonight, if you have aught to teach me, let me profit by it.’

We wound up the questions and I took another bow before going back the nursery to change. It has been traditional for all of the volunteers to have dinner at a nearby restaurant between the two shows, and we did this again, all masked up and spread out around a long table. It felt slightly odd, I have to say, and although the company was excellent as was the fare, I was quite relived when we dispersed. There was just over an hour until the second show so I lay on a sofa and grabbed a little rest before getting ready for round two.

The evening’s audience was larger and a lot more vocal (many people had obviously seen me perform before, for hoots of laughter was coming in ahead of various lines!) I timed the closing of the frock coat much more effectively this time and hopefully looked suitably sombre and threatening. At the end I received a lovely ovation with the audience standing as I took my bows. On this occasion the question and answer session was slow to get going, so much so that Laura chimed in with the ‘what is your favourite movie version’ question just to get things going. However, soon the floodgates opened and we had a great time: where did Dickens get his inspiration for the scenes of poverty in his works? How did I come up with the idea for a one man show? Had I seen the Dickensian TV series and what did I think?

But there was one question that stumped me completely, it came from a younger member of the audience and was ‘what is your favourite Christmas joke?’ I went completely blank, I couldn’t think of a good joke to tell her. I talked about the British tradition of Christmas crackers and the appallingly bad jokes that generations of families have hooted with mirth at, but nothing came to mind. In the end I told the girl that she would need to read my blog post and I would find a Christmas Cracker joke for her:

What did Adam say on the day before Christmas? ‘It’s Christmas, Eve!’

and a bonus one:

What goes Oh! Oh! Oh!? Santa walking backwards!

My work here is done!

I changed quickly and having said my goodbyes I purred my way back to Philadelphia in the Tesla. Unfortunately when I got to the apartment block I discovered that construction crews were resurfacing the roads around it meaning that I was unable to get to the parking garage. I drove around for a while until I found public parking lot nearby, and paid for a night’s parking.

As is usual after a show my mind was still buzzing so I sat up for a while and ate a little blueberry pie that I had purchased at Wal-Mart, as well as some cookies that Marcia had insisted I take on the road with me. Eventually though tiredness came upon me and another day drew to a close.

Byers’ Choice

Tags

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

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

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

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

Some of the earliest Carollers

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

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

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

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

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

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

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

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

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

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

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

Bob Byers Senior. 1938 – 2020 RIP.

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

Have Yourself A Merry Little Christmas Carol Trivia: The Answers

Tags

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

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

The Preface:

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

A Christmas Carol was published by Chapman and Hall

2: Who was the illustrator of the first edition?

John Leech

3: On what date was the book published?

19 December 1843

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

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

5: What is the full title of the book?

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

Stave 1:

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

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

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

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

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

The clocks had just struck 3

4: What does the Clerk use to warm himself?

His comforter (scarf) and his candle

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

Scrooge’s nephew, Fred

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

Two

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

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

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

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

8: Who built Scrooge’s fireplace?

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

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

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

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

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

Stave 2:

1: What is the second Chapter called?

The First of the Three Spirits

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

‘A Great extinguisher’, or candle snuffer

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

Robinson Crusoe

4: Who wrote it?

Daniel Defoe, in 1719

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

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

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

Sir Roger de Coverley

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

Dick Wilkins

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

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

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

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

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

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

Stave 3:

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

1.15 am

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

An empty Scabbard

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

A nut

4: What was Bob Cratchit’s weekly wage?

15 shillings, or 15 ‘bob’

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

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

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

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

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

Traditionally a Christmas pudding is wrapped in muslin while it steams

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

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

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

Laughter and good humour

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

Uncle Scrooge!

Stave 4

1: What is the title of Stave 4?

The Last of the Spirits

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

Six

3: What is Mrs Dilber’s occupation?

She is a Laundress

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

Keeps a record by chalking figures on the wall

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

A Cat

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

Caroline

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

Sewing

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

In the upstairs room of the house

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

His own house which he notices is occupied by someone else

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

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

Stave 5

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

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

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

A shilling

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

Half-a-crown

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

The knocker on his door

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

A dozen times

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

9.18 and-a-half

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

A coal scuttle

8: And what drink did he promise him?

Smoking Bishop

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

Emily Walder

10: What are the final words of the novel?

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

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

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

Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sharnbrook Mill Theatre

Tags

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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