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Staging a Screening

I spent an enjoyable couple of evenings last week working on a writer-friend’s screenplay. It’s been an interesting process, seeing how something relying on tracking shots and additional cameras could be made to work for stage. If you’ve ever done this yourself you’ll know that the easy part is the dialogue edit. What’s more difficult is effecting scene transitions that not only feel natural, but place the cast where you need them to be. Add to that the physical limitations of the set, and all sorts of fun and games kick off.

burning manuscript, adapting screen for stage

Last Saturday, by weird coincidence, I saw this very challenge made flesh. I attended the Duns Volunteer Hall for a Duns Players’ double-bill comprising Steptoe & Son and The Vicar of Dibley, two much-loved television sitcoms adapted for stage.

Lately the am-dram world has gone crazy for these ‘adaptations’ — use the term loosely; they’re often very little more than the original sitcom scripts — and it does make sense. Theatre groups and audiences alike must struggle to maintain enthusiasm for yet another musical sung in an American accent liable to  more slippage than Helen Flanagan’s nipples.

Indulge me a moment. Why can’t Maria ever be an exiled Tory who falls in love with Von Trapp, a benefit scrounger with seven kids and a Staffie called Captain, who is being chased out his council house by Northumberland County Council? Why can’t Calamity Jane be a lesbian with a gun fetish and a passion for Wild Jill Hickock? And why can’t we base them here? In the Borders? Where people speak reliably funny and not unreliably Noo Yoik?*

On an am-drammer of long standing, the lure of the classic sitcom must act like catnip on a kitten. They want to pounce and rub Richard Curtis all over themselves, run around in circles until they fall down dizzy with Clement and La Frenais. But I would advise a word of caution. Just a word, mind, because I’m all for anything that doesn’t carry the threat of a precocious ginger kid bursting into song (she was given away for a reason, people).

That advice would be to find a sitcom that can best balance its comedy with the practical demands of staging. Because what became apparent watching Steptoe & Son and The Vicar of Dibley last Saturday, it’s not as easy as you would think.

First up then, Steptoe & Son, directed by Helen Forsyth. Wonderful performances from Bob Noble as Albert and John Schofield as Harold, with fine support from Christine Sclater and Genny Dixon. Noble had Albert’s unappealing grimace to perfection and Schofield wisely steered away from attempting an impression of Steptoe Junior, delivering instead a warmer, less scathing Harold than the original.

Bob Noble, in Duns Players production of Steptoe & Son

Bob Noble knew no lady could resist his devastating smile

Dixon and Sclater put in game performances as Madame Fontana and Dorothy Duddy respectively. These actresses were wonderful in Alan Bennett’s Talking Heads back in 2011, but they were saddled on this occasion with two-dimensional characters.

And, for me, that was part of a wider problem — the script hadn’t aged well. It felt dated, fixed very much in the period in which it was penned; a time when people had less but laughed more easily. I’m inviting accusations of heresy but I’d even query, once nostalgia is stripped away, whether Steptoe & Son is actually funny. I’d be interested to hear what you think.

The Vicar of Dibley is a superior script with fully realised characters that allow the actors just to get on with things. Genuinely strong performances from all involved, but special mention must go to Charlotte Tait as thick-as-mince Alice, Nigel Warren as no-no-no-yes Jim Trott, and Euan McIver as bloody-Owen-shit-Newitt.

Charlotte Tait as Alice Tinker in the Duns Player's performance of The Vicar of Dibley.

Charlotte Tait as Alice wrestles with one of life’s big questions: what’s brown and sticky?

The laughs came continuously and the cast maintained pace and a high level of energy throughout. But, yes, there was a problem.

Put simply, The Vicar of Dibley — like my friend’s screenplay — was originally written with multiple transitions and scene changes. Steptoe & Son, meanwhile, naturally lends itself to theatre adaptation. Discussing this issue with John Schofield after the show, he made the interesting point that it may be down to Steptoe hailing from an era when TV cameras had all the mobility of small tanks. Back in the 60s and 70s, it made sense practically and economically to keep things relatively static.

So while The Vicar of Dibley may have gained over Steptoe & Son in script quality, it lost out to it in staging. There were too many transitions to go unnoticed, and while these were handled as well as they could be, on occasion they caused the spell to wobble.

That said, take a bow first-time directors Helen Forsyth (Steptoe & Son) and Matt Taylor (The Vicar of Dibley), who rose to the occasion of taming that bastarding bugger of a venue, the Volunteer Hall. Subscribers to this blog will know how much animosity there is between me and ‘that building’. To those am-dram companies fortunate to have a proper theatre for your home — you don’t know you’re born.

In a non-site-specific venue, putting on a production is stupid-hard, requiring thinking so lateral that it could birth an alternate reality. The Duns Players’ tech team made ingenious use of lighting, going a long way to ease the staging difficulties, and strong casting choices ensured that the audience enjoyed a nod and a wink to the originals.

There you go then. If you’re planning to stage sitcoms, choose wisely; it’s not easy. But saying that, your audience will enjoy an evening of laughter and shameless nostalgia. When times are hard and more unstable than a peg leg on muddy cobble, there isn’t really anything better.

Black Adder, sitcom for stage adaptation

*Currently accepting commissions for exactly this type of work…

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Pretty Petty Thieves

Pretty Petty Thieves Article  by Trudy Morrison

A story in this week’s ‘Berwick Advertiser’, following a seagull shooting by an unknown assailant.

Liam crouched on the newspaper pecking at a desultory chip.  He didn’t want it — he was still full from the Cornetto he’d nicked off the toddler in Walkergate — but he didn’t want any of his mates to have it either, the greedy bastards. A flurry of feathers and fish scales in the air above him signalled the arrival of Tiny, an obese herring gull from Tweedmouth with a breath problem.

“Yo blud, what’s goin down?”

“Git your own fries, fatty man.”

“Whoa, settle. I is here on important bizniz, innit?

“Dat so?”

“You know it, blud.”

Liam eyed Tiny, spreading his wings protectively over his half-eaten chip.

“No sudden move on my stash, yo feel me?”

Tiny waddled a few careful steps back. Around these parts, Liam had a rep for being hard; rumour whispered he’d made a peregrine falcon his bitch and had it running gang errands.

“S’all good, man, I ain’t wantin your chip no how. Atkins, innit.”

“Yo stop jivin bout whether yo ass looks big in yo feathers — it do by da way — an git on with it.

“All right, all right. It’s Hector, innit.

“Wassup with da bird?

“Him dead. Shot.”

“Fo’ real?”

“I ain’t makin it up.”

Liam sucked his beak. Shit, that was a damn shame. Hatched only days apart, him and Hector had grown up together, skimming wild over the broken tiles of Prior Park. No-one could touch them — late-night trawler raids, picnic-jacking on the Ramparts, dive-bombing pensioners at East Ord Garden Centre. Good times. Sweet times.

Liam sighed. Ah, but Hector. Well, he never knew when to stop, did he? Always pushing the empty wrapper a stage further. Take that time at the home for the blind, for instance. Christ. Even he, Liam, felt sorry for the poor bastards. He would bet a jam butty and a half-eaten Calippo it wasn’t the warm shower they’d been expecting. Pretty sunrise though. Not that they could see it.

“Yo, blubber bird! What the—?”

Tiny threw back his head and gulped back the last of the chip before Liam had a chance to kick him in the throat.

“Sorry, bro. It’s my mutha-fuckin blood sugars, innit. They’re all ovah da place.”

“I is gonna peck you a new one fo’ sho, dumbnuts.”

“Like the peregrine?”

“Know it.”

Liam advanced on Tiny across the newspaper hissing and cracking his beak, then a grease-stained photo caught his eye bringing him up short and promising Tiny a brief reprieve, who promptly farted in fishy relief. Liam put his head to one side and squinted at the paper.

“Yo read dis ting?”

“Nuh-uh.” Tiny continued to back away, trying not to let his feet slap on the pavement. “I ain’t so hot at letters n’shit.”

“Dat cos yo mama a mackerel-ho who likes it wid pigeons.”

“Pigeons ain’t all bad.”

“Shut yo mouth, Obese Wan Kenobi, an lissen, yo. Some baby-mutha ’who has a phobia of birds’ — I bet she no stranger to Kentucky Fried anyways, know what I’m sayin? — ‘was walking down Marygate only last week with a sausage roll from Greggs when a vicious seagull swooped at me.’” Liam looked up. Tiny shifted awkwardly on to one foot.

“I was hungry, innit. An I ain’t  swoopin, I is gliiiidin. “

“Trust me, bruv, you ain’t gliding nothin. Tings yo size ain’t built for gliding, dey is built for demolition, yo feel me?” Liam resumed reading. “‘I was also relieved that I had my five-month-old baby in her pram and not in my arms. Do we have to wait until a seagull causes serious injury to a child before something is done?’ This is racist propaganda, innit. I is feelin a disrespected pain in my heart, yo get me? It’s not like yo was plannin to eat da chile.”

Tiny coughed.

“Hell, er, no.”

Liam paced backwards and forwards hawking agitated gobbets of semi-digested wafer on the handrail to the disabled loos.

“For dem folk, eatin in the street wid their faces scavenging from bags, well, it’s a lifestyle choice, yo. But me? Hell, blud. I dream of cutlery — a knife, a fork, mebbe a spoon if there’s puddin.”

“Or soup.”

“Or soup, ‘xactly.” Liam nodded. “A meal sat up round a mutha-fuckin table, a crisp linen napkin n’all, a sweet bit o’ family time. But dis is my tragedy in life.” He waggled his wing tips. ”God ain’t seen fit to give me no opposable thumbs. An so, the irony of dis situation in which we and our feathered brethren are finding ourselves in, is dat we are bein labelled as vermin.” He sucked his beak in disgust. “I aks yo, bruv.”

Liam lapsed into a depressed silence. Tiny wondered if it would be poor form to help himself to the mucus dripping from the handrail before it dried. He decided to quit while he was ahead.

“I is killing me a rat once,” he said cheerfully.

“What, yo landed on the mo-fo?”

“Shivved him with a lolly stick. Hey, dat reminds me, yo. Where did Noah keep all the fish?”

“Dunno, where did dat Noah batty man keep all the fish?”

“In the multi-story carp ark.”

“Sweet.”

“Innit, tho.”

Liam continued to peruse the pages of the newspaper, while Tiny took the opportunity to vomit up the stolen chip to enjoy it again at a more leisurely pace. “Shiy-eeet,” Liam said at length. “We in trouble, bro. Look, page four.”

Tiny hopped forward and peered over Liam’s shoulder.

“Sorry, bruv, you mind my mama’s a mackerel-ho who likes it wid pigeons.”

“Jeez, Tiny. It say, ‘A bird scarer and a gas bottle were stolen from a look-out in Scremerston.’ Know what dat is meaning, blud?”

“Hell, yeah.” He didn’t.

“The humans is declaring goddamn war on our sorry asses!” He turned to face Tiny, stricken. “You gotta promise me somethin, bird.”

“You can aks me anything, bruv. Go on, aks.”

“Whatever you is doing, don’t be eatin any unusually large sausage rolls. I seen dis sorta shit in a film once an the shark ain’t smilin at the end.”

“Stay cool. S’all good.”

Liam relaxed. “Okay, den. I’m off, innit. Hot date, n’all dat. One sweet piece of wing-lickin-good gull-ass.”

“Anyone I is knowing, like?”

“Yo sista, fool.

Tiny paled.

“Chill. Gonna watch the stars reflect in the Whiteadder Reservoir. Chicks dig that shit. Laterz, fatty man.” And with one propulsive crap, Liam took off and flapped out of sight, leaving Tiny contemplating the sensual delights of a sausage roll the size of a gas cannister.

Hector may have been the first to die, but he sure as hell wasn’t going to be the last.

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This Ironic Lady is Not for Turning

iron lady

For once I envy the position of the Tweeddale Press. They know not to get embroiled in politics. They know their readership well enough to avoid talking about wider issues, keeping to micro matters instead: the cake sales, amateur dramatics and petty thefts. They are, inasmuch as a newspaper can (yet never should) be, apolitical.

The results of this post are a foregone conclusion. I am prepared. I have assumed the foetal position and have strapped thick books over my kidneys to prevent disruption to my urinary function from the inevitable kicking that will follow. I should probably stay silent. I know from Facebook and Twitter and any other place where armchair politicians gather in numbers that I should keep my trap shut, that what I say will not be welcome, that my words will remain unheard underneath the avalanche of indignant rage and claim to moral superiority. Democracy is not alive and well in the land of social media; freedom of expression exists only if you express the right (Left) thing.

I’m not particularly political. I find statistics and shouting both exercises in futility, yet they seem indispensable to any political debate today. Why, I don’t know. Statistics offered up by one party are neutralised by statistics offered up by the other, and shouting achieves nothing but an all-pervasive tinnitus. And yet … I do have an opinion, so I guess that makes me political after all.

I will try — without shouting, without basing anything on the fickle favour of statistics — to express my sadness over the reaction to Margaret Thatcher’s death. And I would like it if you could let me finish, if you could try to listen without sputtering over your screen gory clots of pre-emptive “buts”.

An aircraft mechanic descended from grocers, my father instilled in my brothers and me the importance of work, not just for the obvious financial rewards but to develop self-respect. My mother, brought up on the charity of the Soroptimists in an orphanage in Greenock, worked variously as a shelf stacker, hairdresser’s assistant, telephonist and receptionist. They had four of us — two went to grammar school, two didn’t. None went to university. They taught us to work hard, not to get above our station, to be grateful for what we had, to be independent and honest. They voted Conservative because they saw the power the unions wielded in the seventies as damaging to the country, disruptive and self-serving. They believed in fairness, the NHS and an individual’s right to get on in life if they were willing to work.

(How are you doing so far? Be honest, you’re choking on the fairness bit, aren’t you? I’ll press on. You’re doing very well.)

My mother and father were neither heartless or cruel while my granny could have been conceived as both, but then she had religion so we must forgive her. My father enjoyed the News of the World and ITV, my mother crosswords and the BBC. Money was tight, we went without and cut our cloth. We didn’t blame anyone else. We didn’t envy those who could afford an annual holiday and Christmas salmon that didn’t come out of a tin. We simply accepted and worked on.

In their forties, my parents holidayed abroad for the first time. In their early fifties they could finally afford to buy their first home. Retirement came, and they looked forward to an old age funded by the pensions they had managed to save.

Does this make them evil? Does this make them worthy targets of vitriol and spite? Should this make them, my brothers and I, and thousands of people who think this is a right way — a good way — to live, open to hate-filled accusations of moral bankruptcy and having a reptilian sensibility?

I don’t think so. And neither do you, if you breathe into that bag long enough to think about it. History teaches us that there are losers in every political story. I lost my home as Tony Blair spun his. Do I blame him and his policies? Only partly, my parents having also taught me to take personal responsibility.

How much energy has been expended to keep such hatred alive? How much time has been lavished over nursing this infection so its transmission to the next generation is assured? Can those of you on the Left still fly your flag over the moral high ground as you sing songs and organise parties to celebrate the death of an 87-year-old ex-politician; as your gleeful shouts of “The witch/bitch/that f***ing woman is dead” reveal at last the underlying misogyny responsible for keeping the fire burning white for the last thirty-odd years? And, as the self-appointed upholders of truth and equality, will you promise to do the same for Blair when his time comes?

Margaret Thatcher is dead. She died some time ago. Move on. Rise above this disheartening mob mentality. I like to think there is common ground to be found between us. If we all stopped howling at the moon for a minute we might look down and find it’s nearer than we thought.

Thank you for listening.

 

 

 

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Ovoid to Tabloid

As I gaze out of the window at a morose landscape sketched entirely with a 4B pencil, I cheer myself up by thinking of Easter. In an increasingly secular society, it’s comforting that we still can’t resist tapping our toes to ‘There is a Green Hill Far Away’ as we contemplate the miracle of the Resurrection, that singular event upon which the entire zombie genre is based.

If there’s something that Christians do well — aside from wrestling with lions and saying no to women — it’s a miracle. They’re all over them like a dreaming Argentinian over Goose Green.

pope francis

In the miracle stakes, Christmas isn’t all that. Mary simply got lucky; she found Joseph, a man blessed with both a trusting nature and a poor grasp of biology. If there were to be a Christmas miracle, however, it would lie with the Three Wise Men. These three men, without food or drink, raced all the way from India to Bethlehem on the backs of camels laden with heavy metal and “exotic plant resins”, only thinking to ask for directions when a cloud passed over the star they happened to be following. I mean, the whole thing reads like an episode of Top Gear.

By Easter, Christians have a firmer grip on the story arc, realising that they need a strong finish to leave the door open for that all-important second series. How do you create a buzz big enough to pull in a global audience? Kill off the sexy main lead, that’s how. Employ the three Bs — bromance, betrayal, Barabbas — then just when you’ve got your audience hooked, bring on the stepladder and the two-by-fours. Your target demographic of the unsaved will be left gasping at the twist. Think Verbal Kint and Keyser Söze.

usual suspects disciples

“And thence?”

“Lo, verily, he liveth again.”

“Miracle?”

“A stonker. But not straightaway. Leavest an audience wanting more and all that.”

“Nice,” nods the producer. “I liketh it.”

After a three-day wait Jesus becomes the first of the living dead, before eventually being abducted by aliens. Which is how the tradition of a long weekend came about. And the giving of chocolate eggs.

alien egg

In my day, of course, we had proper chocolate Easter eggs, eggs that you shook and heard sweeties rattle inside, sweeties wrapped in nothing but an outside chance that a factory worker had touched a scabby dog at some point in the last six months and had forgotten to wash his hands. The excitement of breaking into the egg, the hollow cuh-rruck! as the chocolate gave way … How sad then that today’s Easter egg is a fun-free ovum of despair. Trapped within impenetrable packaging like Han Solo in a slab of carbonite, the egg of today surveys the world with sad eyes and an empty heart. Its innards are kept in a canopic wrap of plastic, anticipation and surprise banished to a Health & Safety underworld.

When I opened this week’s edition of The Berwick Advertiser I felt for a fleeting moment that I’d been transported back to childhood. Once I got past the packaging I — wait! The packaging had changed, shrunk from broadsheet to tabloid. Great news. You needed planning permission just to open the bloody thing before. Another advantage of dropping excess weight, as any fat man will tell you, is that it makes other things look bigger. Our local news suddenly seemed more important, the stories more strident. Stone me, Berwick had only gone and produced something resembling a professional newspaper!

The Tiser

Better things were to come. As I riffled through the pages with mounting excitement, small bonbons of personality plopped into my lap. I’ve moaned in the past about how The ‘Tiser  lacks an identity for its readership to get behind and I don’t for one minute flatter myself that my words have had influence (because obviously it’s there for all to see), but I confess to a shivery thrill at discovering Phil Johnson’s editorial. Reaching out like the difficult teen in a family counselling session, Phil finally told the people of Berwick all about his hopes and dreams for the paper. A beautiful moment. I sent a mental hug.

Yes, some pages do resemble a fight in a font factory but as any doctor tells a patient suffering a sudden rash, it’ll soon settle down. For the time being let’s enjoy our paper’s resurrection and the miracle of finding something wonderful inside a formerly empty shell.

easter egg

What do you think? Could this herald a turnaround in the fortunes of The Tiser and The News? Drop me a line.

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Love or Money

You know how we feel here at NOT BAd about reciting the plot when you can read the blurb here.  Our time is valuable, your time is valuable; let’s show each other a bit of mutual respect. We promise to turn full focus on the complaints received about the play’s nudity later.

Love or Money, Tideline Runners

After The Tideline Runners burst on to the scene with the critically acclaimed Human Interest Stories last year, their second production at The Maltings Theatre has been eagerly anticipated. As an antidote to the shredding intensity of Human Interest Stories, Rob Wilkinson’s new play Love or Money directed by Mark Pentecost is billed as a romantic comedy. You’d do well to take a pinch of salt with that. Jokes appeared in Human Interest Stories, but then so did miscarriage and decapitation.

Audiences were delighted by the refreshing modernity of Human Interest Stories — the innovative use of multimedia, a compelling soundtrack, the sharpness of the dialogue, the unrelenting pace — and how it delivered something akin to a Sorkin morality tale. 

And there are similarities between the two plays; the parentage is clear. Some genes have been passed on complete, others have mutated. This being a play set in the fickle world of film, deft multimedia works as an integral part of Love or Money rather than a technical scatter cushion. Opening credits roll, there’s back-projected scenery, on-stage action is interspersed with filmed sequences — the boundary between theatre and film blur, echoing one of the play’s themes: the subjectivity of truth.

Picture of bare male bum with woman's hand grabbing it.

Contains nudity. And nuts, if we’re not mistaken.

Hugo Hughes plays mild-mannered film editor Spencer Goldwyn caught in a struggle between the money-grabbing imperative of the film studio and his ‘art’. Hughes puts in a marvellous turn as this Allen-esque beta-male and some of the best laughs in the play are found in the re-imagining of himself as suave male lead. Spencer is the everyman; breaking the fourth wall, he speaks to us directly, reminding us that in real life there is no second take, no edit, yet reality is altered by perception.

Prozac junky Maurice Cain is the unlikely moral touchstone of Love or Money, and Gary Robson does a terrific job of realising a character who seems weak and disempowered but who possesses the constancy of character and purpose absent from his peers. Robson delivers his lines on a timed delay as Maurice fumbles through the veil of his dependency to find the words that eventually prick the conscience of those around him. Certainly one of the stand-out performances of the night.

Byron Stanley, Bruce Hanson’s agent, is the type of man who would boil babies and roll them in salt if there was a deal to be had. An unholy splicing of Steve Buscemi, James Woods and Joe Pesci, Daniel Lee Cox chews up the stage as Stanley, hosing everyone down with a torrent of blistering invective. The exchange between Stanley and 17-year-old stalker Gayle (Sarah Rooney on super glaikit form) is particularly horrific in its viciousness. It would be easy for this character to tip into caricature, but Cox never oversteps the line. He creates a believable and utterly compelling monster.

This is what artistic integrity looks like in the theatre

How artistic integrity looks in theatre.

And so we’re almost ready to talk nudity. But first let’s talk about sex because sex is compelling while nudity is just like a bad night out in a butcher’s shop. Louise Wood with excellent timing plays laconic actress Emma Whitely who, if the studio gets their way, will be consigned to the cutting room floor. Emma’s sex scenes with former teen-idol Bruce Hanson (David ‘Dimples’ Simpson) are preventing the film from getting the rating needed to reach Hanson’s typical demographic. We view the before and after-edit sex scenes between Hanson and Whitely and while they’re deliciously funny, well — Berwick is a small town. Wood is old enough to be Simpson’s mother. So, yes, goosebumps and small shudders of disturbed admiration.

Love or Money shows a rapid evolution of Wilkinson’s talent as a playwright. He’s now exerting more control over his material; each character has a separate voice rather than being an extension of Wilkinson’s own wit and ideals. This sets Love or Money firmly above Human Interest Stories. The script hurtles along, an enraged beast of a thing coming at the audience as if wounded. Wilkinson, a walking encyclopaedia of pop culture, brings in something smart and knowing by way of a steady stream of laughs. However, Love or Money never allows the audience to get complacent — some lines are so savage in their cruelty that you can almost see the audience recoil.

That’s not to say there aren’t problems with the script. On occasion character development is disappointingly patchy. We didn’t believe in young heart-throb actor Bruce Hanson’s transformation from truculent narcissist to serious actor nobly motivated by high ideals. Further, we didn’t buy into Karen Herd (another assured performance from Tamsin Davidson) having an equally Damascene conversion from ball-breaking film producer into purring upholder of truth and justice. This wasn’t a fault of the actors — more the characters’ motivation lacked roots of any real depth. It felt like a contrivance in order to wrap up the play with a happy ending; a convenience rather than a truth.

Now, finally. Those inevitable complaints of nudity.

Film. Theatre's glamorous cousin.

Film. Theatre’s glamorous cousin.

There wasn’t enough. While Simpson gamely threw his trolleys to the four winds as Bruce Hanson in the filmed sex scene, there was a certain amount of … cuppage. Yet a man about to indulge in some vertical hard and fast shagging generally speaking isn’t shy about his tackle hanging out. It would have been better to either shoot this from a different angle or leave this shot out altogether. We also heard grumblings about a lack of boob. Yes, we like our diet rich in meat up here in the North of England. It helps keep the cold out.

So, a strong script, a strong cast, strong production values. How hard could Love & Money be to direct? Mark Pentecost is a director not lacking in hubris. There’s not so much as a whiff of self-doubt, a flicker of regret for a scene not working quite how he’d envisaged. When asked if there was anything he would have done differently he replied, “No, because I had already changed what needed to be changed.”

Wow. This isn’t how it normally works. Normally there’s a tremulous smile hiding a soul consumed with self-loathing.

And how were the cast to work with? Pentecost did pause for a fraction of a second, realising possibly something more was required than “I made sure they were all outstanding.“ ”They were brilliant.” So far so good then. “You know, professionals come with their characters fully formed. You have to tell them less, less, less. With amateurs it’s the other way around. They’re waiting for you to add to their characters. It’s been a really interesting process. Great fun.” And with that he continued to double-kiss his way around the room, clearly a man with character to spare.

Love or Money — an optimistic feel-good black comedy with nudity. Rob Wilkinson and The Tideline Runners are firmly on their way up.

mountaineer

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Recession? Blame it on Twitter

Listen up, ladies and gents. We need to swallow an unpalatable fact. The recession is not down to the previous Government’s incontinent overspend, neither is it down to Donkey Osborne’s dunderheaded insistence that we continue to pay as the ship goes down … then up … then down … then up … then down …

No, blame for the recession must lie with us, the workers. More specifically, our love affair with Lolcats and videos of boys getting hit in the balls by their skateboards.

lolcats

Hours of productivity are lost every working day. YouTube, Twitter, Facebook, Pinterest, Flickr, LinkedIn, Soundcloud, Myspace, Mumsnet — for every taste and proclivity there’s a social network to suit; there’s even Instagram for those seeking to elevate narcissism to art by means of a sepia tint. Suddenly a job is something to do when the internet goes down.

A couple of weeks ago I realised I was getting absolutely nothing done. I had started to define a successful day as one in which I hadn’t retweeted something from @thedailymash. A productive day simply meant that I’d mustered enough self-control not to rattle off a foaming response to a comment on The Guardian online, or when I’d restrained my natural instinct to tackle the general f***wittery that abounds whenever a Boden* of mothers comes together in a chat room.

someecard

I found myself spending more and more of my day following Bitly breadcrumbs and falling down hyperlink wormholes to Wonderland. I needed to get a grip. I needed to choose.

Naturally the one that had to go was Facebook — the Cadpig of the social networking litter, the sacrificial Eva Zawistowski. And I felt good deactivating, Dear Reader, as if a load had been lifted from my shoulders. I could hang up the ball gown and big pants of my Facebook presence and get comfy as I slipped back to work in those tired old joggers otherwise known as real life.

Because the thing with social media — and I speak as one who handles it as part of my job — is that it’s a suspension in which hangs varying concentrations of truth. It dilutes and distorts, giving weight to the light and flimsy while making light of anything of weight. It’s a land covered in Bong-trees, feeding us from a runcible spoon.

And I bloody love it.

In the linguistic playground of social media, words get tripped over, turned upside down, spun around and bullied until they cry. Spelling is reduced to sandpit phonics, sentences are replaced with acronyms, capitalisation is considered a spoilsport, and punctuation? AWOL — running off with tone, pace and sense to end up lying face down somewhere in a stream of consciousness. Within this sphere, we experiment on language like a happy five-year-old on a worm.

wormbw

© headsup52 on Flickr

But. Informal ways of expression like to play truant. Our dear old ‘Tiser —The Berwick Advertiser — prints more spelling mistakes, typos, reporting errors and grammatical pratfalls than a blind dyslexic with bananas for fingers typing up a dictionary using a back-to-front keyboard. (Don’t write in, it’ll only end in sarcasm and a long lecture on the subjectivity of humour and your inability to grasp it.)

Their journalists should console themselves with the thought that it’s not entirely their fault, because a) like us, they’re travellers in The Time that Attention to Detail Forgot, and b) Johnston Press, owners of Tweeddale Press, have made scything cuts to sub-editing services across their titles in a bid to centralise operations. Considering ‘Tiser editor Phil Johnson has a sub-editing background, this must feel like a stake through his Hart’s Rules.

How do I know this? Because social networking, while setting me up on a date with Osteoporotic Destiny in later life, has also put me in touch with some amazing people — people who are generous with their time and knowledge, people who care about the small stuff, people who go through life attacking limp grammar with the spray starch of exactitude and who will bring syntax casseroles to me when I break that hip.

osteo 2

Matthew Kilburn — Oxford academic and contributor to Time and Relative Dissertations in Space: Critical Perspectives on Doctor Who, the kind of title passing for porn in academic circles — is one such chap, and what he doesn’t know about Johnston Press ain’t worth knowing. He’s the guy who I’ll ring up when the time finally comes to watch The ‘Tiser swirl down the pan. We’ll hold hands as it disappears and then settle down to watch Children of the Stones on DVD.

Marcus Trower — author/copy editor — is a delight on the subject of participial clauses and compound predicates. Sadly though, he has recently come a cropper for daring to point out a dangling modifier which had crept into an online interview (read about it here). Not only was this in The Observer/Guardian, but worse — the subject of it was a poet. Yes, in the eyes of your average hippy M&S customer these were the conditions for a perfect storm, and Marcus found himself the focus of a public flogging.

This brings us neatly to why it’s important that we don’t let the glorious mutations of speech, text or tweet jump species to mingle with the DNA of the professional written word, because as Marcus rightly points out:

“The problem with bad grammar is that it makes you focus on the grammar and not the content. Some people won’t be able to read past that second sentence. I couldn’t, so I’m never going to know whether it was an interesting piece or not.”

I’ve lost count of the number of times that I’ve landed on a company website prepared to make my bank card bleed, only to have been brought up short by a typo. If they don’t care about getting something as simple as that right, what else can’t they be bothered with? Invariably I hang on to my cash.

In the business world, correct grammar conveys credibility. There has been some great reporting by The ‘Tiser in recent months, yet it still needs to tackle this recurring problem of inaccuracy before it can lose the rather unkind nickname of The Badvertiser. Times are proving brutal for regional newspapers, and it will be the ones able to demonstrate integrity to their readers that will have any chance of surviving.

So remember, the next time you hear about a triple-dip recession, it

  • has nothing to do with the present Government pretending not to notice the bloody great fiscal iceberg powering towards us shouting, “So you think you’re cold and hard?” 
  • and it has nothing to do with the last Government’s profligacy as it attempted to buy friends and make people like them on Facebook.

A triple-dip recession will be down to us

  • withdrawing the means of production as we wait for the next baby-puking video to go viral,
  • and scaring away investment as we inadvertently make our corporate webpages an extension of our Twitter timeline.

Yay, indeed.

twitter page

(*A Boden — the collective noun for a gathering of professional women who have given up their identities and all sense of fun to have children.They’re often found on Mumsnet or wherever there is a high density of fair trade coffee shops.)

How much of your working day do you spend online and what effect, if any, has it had on your work? Do typos bother you? Is it inevitable that social media terminology and conventions will make their way into professional copy? I’d love to hear your views.

 

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A Room of One’s Own

Ask any bear.

bear

January is all about finding a place in which to hole up until the weather is warm enough to hang the toilet roll on a twig outside. It’s all about slipping into a near-vegetative state to allow your body to feast unsupervised on your booze-bloated BMI, to gorge on all the wobbly bits fashioned from ham scraps and Quality Street.

Now some of you might argue that January is also about resolution — the resolution to think about using the sportswear that you bought in the sale. What better place to think about self-improvement than a café? What better way to commence self-improvement than by beating your personal best for the number of marshmallows you can float on top of your hot chocolate?

NOT BAd can announce that we now have two favourite haunts in Berwick where we can contemplate hypothetical tendon injury versus doing nothing in comfort, and these are The Corner House and Thistle Do Nicely. Like non-identical twins, they’re… not the same.

The Corner House on Church Street, you see, meets our need to feel cultured. You know how we feel about intellectual snobbery here at NOT BAd HQ — we adore it. The Corner House has stripped wooden floors, an open fire, shelves groaning with old books, scrubbed pine tables, battered Chesterfields, and artwork on the walls. You feel your IQ going up ten points just by stepping over the threshold.

corner house

You let your eyes linger with love over a cold cabinet devoid of Coke, Fanta, IrnBru or Dr Pepper — those toxic brews of sugar and carcinogens proven to make kids fat, breathe through their mouths and amount to nothing in life.  There is a fine selection of coffees and herbal tea — proper herbal tea, not the stuff tasting how you imagine Air Wick to taste — and soup, home-baking, and panini the size of your head.  You don’t know whether to eat one or book a two-week cruise on it.

Jazz plays in the background, a piano teases from the corner, and you’re lulled into a blissful sense that anything is possible — that you could start your own art or literary set, the Berwick-upon-Tweed branch of the Bloomsbury Group, with you installed at the head as a smaller-nosed, less suicidal Virginia Woolf.

On Friday nights The Corner House plays host to local musicians and, if you’re lucky, the upstairs neighbour bangs on the floor to keep time for them, which is really rather sweet of him.

corner house 2For charm and great ambience, The Corner House can’t be beaten, but sometimes… well, sometimes you don’t want atmosphere, do you?  You don’t want to have to adopt a Wildean air just to order a cake with two-forks-please. You want simply to sit in the corner picking apart a fruit scone, avoiding eye contact with fellow patrons like an immigrant waiting to be deported.

Ladies and gentlemen, we gift you the experience of Thistle Do Nicely on Walkergate.

Thistle Do Nicely

“Yes,” you’re crying. “But Thistle Do… well, it’s been there years!”

Indeed, but we plough a shallow furrow at NOT BAd. Did you honestly expect us to darken the door of an establishment with such a nonsensical pun as its name?

Thistle Do/this’ll do — that’s not word play, that’s word kidnap and torture. Pun abuse. If there were a helpline, we’d be on it in a flash, reporting the proprietor for indulging in deviant homophonic acts in public. It’s not even a proper pun, for heaven’s sake; it’s a half-pun — a sad, desperate, wounded thing begging to be put down.

So, no. NOT BAd has refrained from crossing said proprietor’s palm with £4.95 for a jacket potato as punishment. (Note the correct application of word play, working as it does on two levels, not going off half-arsed just because it sounds a bit like something else.)

Until now, that is. Until, specifically, we were in the company of a 74-year-old who likes her vinyl tablecloth with a splash of anaglypta, her waitress with a broad beam and a cheery manner.

And whatever the owner lacked in aptitude for idiomatic construction, they more than made up for by providing hot, tasty food at great value. Yes, the menu was simple, the décor bland, but the café was clean and the food fresh. When the basics are done well all is surely right with the world.

So there you go. Thistle Do Nicely actually did what it tried and so spectacularly failed to express via the medium of paronomasia — it did do very nicely indeed. Go along on the days when your Brecht is rusty, your hair is lank, and you have a spot the size of Ireland coming up on your chin. Sit down, order a hot chocolate and a Malteser slice, and just think about ways of self-improvement until spring arrives. There’s always that personal best, remember.

hot chocolate

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