Archive for the ‘jean newlove’ Tag

The Hope of Pattern

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259 Today: Blake’s grave on his birthday

 

 

I live for coincidences. They briefly give to me the illusion or the hope that there’s a pattern to my life, and if there’s a pattern, then maybe I’m moving toward some kind of destiny where it’s all explained.

Jonathan Ames

It turned out something of a literary day today. It started with a note on this humble blog from an actor interested in Jean Newlove, collaborator of Joan Littlewood and pioneer of movement as a discipline in theatre. The actor in question appeared as a young Alan Turing in ‘The Imitation Game’, growing up into Benedict Cumberbatch (patron of our very own Phoenix Cinema in East Finchley). I interviewed Jean Newlove, mother of the late Kirsty MacColl (who will be coming in to season shortly as the female half of the greatest of all Christmas songs, ‘Fairytale of New York’), for the Littlewood chapter of my not-yet-finished book ‘When Sparks Fly’.

I was keen to read the last couple of chapters of the excellent novel I’ve been reading the last couple of weeks, Amos Oz’s ‘Judas’, so I left a bit early for my first meeting in Old Street and repaired to nearby Bunhill Fields to read in the low yellow winter sunshine. I sat down by John Bunyan’s tomb, inhaling the roll-up smoke of two Eastern European workers on the adjacent bench, and by way of hors-d’oeuvres downloaded a copy of ‘The Pilgrim’s Progress’ to my phone and read the opening. It’s a good complement to ‘Judas’. I then read some of the wizardry of Oz before heading off to my first meeting with a young scriptwriter of the Paul Abbott school. I’m producing a short film for him. On my way over to Silicon Roundabout I remembered there were other literary types in Bunhill Fields and sauntered past them – Daniel Defoe and beside him the great Londoner William Blake, born in Marshall Street, Soho where my very first job (for a film company) was located. I’d spotted on a Twitter post just after the note from the actor that today was Blake’s birthday. I hadn’t paid much attention but once in front of the grave it came back to me and the coincidence of showing up at his death place on the day of his birth delighted me as I have been much taken with coincidences in recent times.

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#OneLostGlove

I’ve had two other good ones in the last couple of days. On Saturday night I was on my way to see Michael Keegan-Dolan’s brilliant dance Swan Lake / Loch nEala when I came across One Lost Glove and photographed it as is my wont with a caption playing on a song title as is my wont: Whole Lotta gLove. I was having dinner first with some friends and as I took my seat in Miz En Bouche in St John Street, Islington over their sound system came a version of Led Zep’s ‘Whole Lotta Love’ covered by a relatively sedate female singer.

Today, after I’d finished the Oz book, I resumed Paul Beatty’s ‘The Sellout’, winner of this year’s Man Booker prize. In it I read this sentence: “Frankly, I wouldn’t be surprised by p values in the .75 range.” I got that it was taking the piss out of a certain kind of academia and social science but I had no idea what p values are, never heard of them before. This evening I’m at a lecture by Ogilvy’s Rory Sutherland (who I also interviewed for ‘When Sparks Fly’) on Behavioural Economics. He mentions p values of course.

A BIGGER SPLASH [BR 1974]

A BIGGER SPLASH (1974)

While I’m at it a Blake-related coincidence this time last year which proved very important for me. When BAFTA season is in full flow you get inundated with PR emails from film publicity companies. I normally don’t read them but I did read one entitled A Bigger Splash because that first job of mine in Soho, opposite Blake’s birthplace, was with a film company that made a movie in 1974 entitled ‘A Bigger Splash’, about David Hockney and his circle. So the subject line caught my eye and I scrolled through the email. It was for a new romantic comedy (?) featuring Ralph Fiennes and Tilda Swinton. At the bottom of the email was the address of the publicity company – 35 Marshall Street, the very address of Buzzy Enterprises where I worked. So it was Buzzy’s address and Buzzy’s title united on a single email. What are the chances? Two items with no intrinsic connection. Unlike the hearing the same word for the first time twice on the same day type coincidence there can be no rational explanation for this baby. I ended up sending it to my former boss, director of the original ‘A Bigger Splash’, Jack Hazan, and that triggered a train of events which lead to us working together for the first time in decades, on a documentary based on something he shot three years before ‘A Bigger Splash’.

The first chapter of ‘When Sparks Fly’ is about poet Allen Ginsberg, who was hugely influenced by Blake. The road I crossed to get to Bunhill contains St Luke’s church where I once met Patti Smith, who is also a massive fan of Blake and wrote a song called ‘In My Blakean Year’ (but we talked about two other poets who resided in London, albeit briefly – Rimbaud & Verlaine).

The coincidences, both explicable and inexplicable, are the kind of thing that make life worth living. They suggest pattern, yes, but more importantly they suggest magic.

Stuff Done (Phase 2: Weeks 3 & 4)

Still not really in my rhythm but getting some stuff done. The highlights of the last couple of weeks (The Story conference displaced last week’s entry) are primarily interviews. Today I did an interview with Barbara Windsor who was one of the third generation of Joan Littlewood’s acting ensembles doing Fings Ain’t Wot They Used T’Be at the Theatre Royal Stratford East in 1959, before transferring to the West End, as well as Oh What a Lovely War on Broadway in 1965 (where Barbara was Tony-nominated). It was fascinating to hear how tricky Barbara found Joan’s loose, improvisational approach after a training in the West End where the script was the script and you did exactly what the director told you to do. But what emerged from the experience ultimately was the actress getting more in touch with her real self, after years of playing down her East End background. Joan really admired her work in EastEnders – and thought she was the only one with a decent Cockney accent. Barbara learnt from Joan during Fings at the Garrick when she was drifting into artifice and over-blown performance, too Judy Garland, not enough Bethnal Green, and carried that lesson forward for the rest of her career.

Barbara Windsor with Victor Spinetti

Barbara Windsor with Victor Spinetti

Last week I interviewed Hamish MacColl, son of Joan’s first husband Ewan MacColl (folk singer and playwright), brother of singer Kirsty MacColl. He was kind enough to share some of his memories of Joan from his teenage years. He has his mother living with him, Jean Newlove, the third corner of an artistic triangle at the core of the Theatre Workshop with Joan (director), Ewan (writer/music) and Jean (movement). Hamish arranged for me to interview Jean too. Jean is an associate and champion of Rudolf Laban’s analytical movement work, using people’s physical actions, in the theatre context, as a key to their character and portrayal. She is 91 now and sounded incredibly energetic and youthful, quite inspirational. She told me a bit about the early years of the Theatre Workshop including when they were camped out at Ormesby Hall near Middlesborough in a kind of proto-hippy thespian commune.

Movement was central to Joan Littlewood's approach to directing

Movement was central to Joan Littlewood’s approach to directing

I also sent my Proposal document off on the start of its journey to a potential publisher which would be a real coup if it all comes off. I sent it on a particular day to mark the memory of a friend of mine who checked out way too early.

Steve, put in a word with the Big Man for me

Steve, put in a word with the Big Man for me

So progress made, even if a little unevenly.

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