Wilderness Festival, 4th-7th August 2016

Sunset over the campsite on the first night

Over a long weekend in August Cornbury Park's ancient woodlands were transformed into a playground for adults and children alike. Thousands descended on this peaceful Cotswold estate for Wilderness Festival 2016. Revellers enjoyed the refreshing cold of the lake or stayed safely in the boats gliding along the surface if they did not wish to brave a bracing swim. Wandering the main festival site snippets of debates and talks escaped from marquees, latecomers lounged in the sun nearby, raucous laughter erupted, the strains of music could be heard, and the smells of a wide array of street food constantly tempted the tastebuds.

The Atrium

With talks ranging from Artificial Super Intelligence  to Brexit, the  Brontës to dinosaurs, it proved a hard job choosing where to spend the days. The Atrium became a hub for the arts - dancers from top companies gracing the stage that moments before had been inhabited by excited toddlers. It also played host to a Disney singalong, a pop-up cinema, and a Bowie tribute concert. Variety and quality are the hallmarks of this festival that celebrates all things culture.

Making good use of the natural beauty of the surroundings, the Oxford Shakespeare Company performed an excellent, concise version of Love's Labour's Lost. There’s something quite magical about being led into the woods for an afternoon in the sun watching talented actors perform without all the modern theatre technology we are accustomed to, bringing us closer to the way original audiences would have experienced the play.

The annual Wilderness cricket match

Sunday morning saw the annual Wilderness cricket match, an event in which almost anything goes. Amusing commentary, players casually drinking on the field, and twenty-two streakers (which was eight off the current Wilderness record), this was not your average cricket match. Play itself was not without its appeals however, the Remainers plucking victory from the Brexiteers’ grasp in a nail-biting conclusion.

The Valley

As the sun set there was plenty to distract from the evening chill. Nouvelle Vague, stepping in for Daft Punk on the Atrium stage were a definite highlight. Their high-energy performance had the whole crowd dancing. Sadly, the headliners on Sunday did not quite achieve similar. The staging of the Flaming Lips’ set was visually impressive – colourful and unusual (a curtain of lights obscuring the band for the most part). Wayne Coyne’s performance lacked the energy needed however, and he struggled to hit the high notes. There was plenty for night owls to enjoy beyond the main stage; from the Folk Barn to the Valley – an intense experience of pounding music, lasers, and a huge crowd partying deep within the trees. No piece about Wilderness would be complete without mention of the Saturday Night Spectacle which this year featured tightrope walkers performing feats that made my stomach churn just watching them, illuminated performers providing a soundtrack on the field below.

As the forest and lights fade the memories will not. Wilderness provides the opportunity for all to enjoy losing themselves in nature – to think, to dance, to be free, if only for a weekend. 

The boating lake

To Kill a Mockingbird, Harper Lee

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Lee’s acclaimed novel is told through the eyes of young Scout Finch. The prevailing public perception of the novel is that of the trial of Tom Robinson for the rape of Mayella Ewell. This does form the centrepiece, and by far the most gripping section of the novel, but the majority of the book is devoted to constructing the environs that Scout and her brother Jem inhabit. This is more than mere scene setting, it is essentially the heart of the novel. In giving so much time to the every day Lee allows a deep understanding of the kind of society the events happen in, so constricted by a sense of the way things should be, blind to the potential benefits of allowing some deviation from the ‘norm’.

To Kill a Mockingbird is in many ways a coming of age novel. We see Scout wrestle with the expectations and unknowns of growing up – from her first day of school where she is told she must stop reading until she reaches the designated year to wondering at Jem’s change of behaviour as he reaches puberty. She is constantly being told how she should behave - Jem and their friend Dill laugh at her for acting like a girl and she also has to contend with the opposing pressure of Aunt Alexandra who is shocked at her perceived lack of appropriate female behaviour. The roles and expectations of people in society is a theme that arises throughout the novel whether it be the Finch’s reclusive neighbour Boo Radley, Scout as a young girl, Tom Robinson, or Atticus Finch, Scout’s father and of high regard, they are encouraged to conform to the roles and behaviours expected of them.

Atticus is painted as a moral figure, facing the backlash of his peers for taking on Tom’s case. The fact that he is doing so because the judge chose him to is somewhat brushed over but can leave the reader a touch disheartened. Be that as it may, he does a fine job, indicating that he is not as close minded as many of the others who would not necessarily have done their best in a similar situation. The trial itself is intense and incites outrage in the reader at the injustice. By setting the Ewells, a family shunned by the neighbourhood, against Tom, Lee skillfully emphasizes just how bad the prejudice is and how little hope there was.

Scout and Jem are witness to the trial and their reactions are an important indicator of the morals they will take on. This exposure to injustice strips them of their innocence and is a significant moment in their transition toward adulthood. It is telling that Scout can pick up on the hypocrisy of the adults condemning the prejudices of Hitler’s actions whilst happily sending an innocent man to his death for nothing more than the colour of his skin. The use of a child narrator adds to the poignancy of the tale.

It is always interesting encountering such a well-known story for the first time. Less of the book is given to what I’d always believed to be the main thrust of the novel, but it is in these other sections that the characters and settings are built, and the themes are dealt with more subtly. It also serves to show the characters who could easily be condemned for their prejudice as human, and as the norm. The world may have moved on (to an extent) but this story is still relevant, and Lee’s writing remains gripping.

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Unreachable, 13th July 2016, Royal Court Theatre

Anthony Neilson’s latest offering opens on a sparse stage. Tamara Lawrance walks to centre stage and delivers an emotive monologue as an audition for successful director Maxim’s (Matt Smith) epic film Child of Ashes. The intensity dissolves instantly as she reverts back to herself, an ability Maxim struggles to understand throughout, determined there must be some real life pain at the root of her moving performance.

The play quickly descends into humour, bordering on farce with the introduction of Ivan ‘The Brute’ later in the act. The audience are witness to the raw and unpleasant life inside the film business. Maxim is temperamental, self-centred, and outrageous in his demands. His child-like behaviour has only been heightened by his recent award of the Palme D’Or. He delays the filming almost endlessly, apparently over his concern for capturing the perfect light but in reality masking his anxiety over completing the film he has been working on for ten years. Director of Photography Carl (Richard Pyros) loses patience and can’t understand Anastasia’s (Amanda Drew) seemingly endless devotion to him.

Anastasia is manipulative, using Carl’s feelings for her in order to get what she wants, and casually offering sex when she needs to relax. Her commitment to Maxim’s films is evidenced when she reveals that she missed her mother’s funeral because she was on set with him. This should be a shocking revelation but the lack of emotional depth in the characters makes it almost a throwaway line.

As the play progresses we see the characters pushed to their limits in terms of what they are willing to sacrifice for their art and success. Despie the serious themes present the audience was in raptures, especially in response to Jonjo O’Neill’s hammy performance as Ivan. The star performance for me, however, was Lawrance whose versatility was apparent in Natasha’s ability to switch on any emotion thrown at her by Maxim.

There were some excellent performances but none of the characters were particularly likeable and I struggled to connect with any of their stories. The set design helped create the oppressive environment of the studio and the final scene was a credit to Chloe Lamford and Chahine Yavroyan’s set and lighting designs. Not quite to my taste but clearly very pleasing to other members of the audience, this unusual play runs until August 6^th at the Royal Court Theatre, London.

The Chemistry of Tears, Peter Carey

The novel opens with Catherine Gehrig having recently heard of the death of her long term lover, Matthew. Her disorientation and confusion at the world continuing as if nothing has happened is well drawn, and the reader is led to put aside curiosity over their thirteen year affair to contemplate the agony of having lost someone so dearly beloved and yet having to hide the depth of feeling. Her senior, Eric Croft, is aware of the situation and gives her a project to work on away from the Swinburne museum at which both she and Matthew worked.

Her task, to reconstruct a mechanical masterpiece from the nineteenth century, leads us neatly into the split narrative form Carey is known for. Alongside the numerous parts of the duck-cum-swan are the diaries of Henry Brandling who commissioned the piece in the desperate hope that it would save his ailing son. Brandling comes across as somewhat bumbling but well intentioned, enraging his wife with his endless optimism. His quest leads him to the Black Forest, renowned for its ingenious clockmakers, and to Herr Sumper, a curious, perhaps brilliant, mechanical worker who is not satisfied with merely creating the duck that Brandling so desires.

Catherine, in her grief-stricken, increasingly unreasonable state, steals the diaries and becomes obsessed with his story – grief and longing connecting them across the years. Her struggle with Matthew’s death is most explicitly portrayed in her reliance on alcohol and difficulty interacting courteously with those around her. Carey does not leave it on such a superficial level however, detailing her constant thoughts of Matthew’s decaying corpse and her anger at those who go on living when he is gone. Death and decay hang over the novel in the descriptions of every day life – the tube is described as having ‘committed suicide’, the sky said to be ‘bleeding’. The tone of the writing does not let you forget.

An intriguing premise for a story which leads you along two vastly different narratives that nonetheless fit together well enough. Carey explores the power of the object through Brandling’s obsession with his mechanical duck, as well as Catherine’s attachment to his diaries. The strength of this encounter at one remove is mirrored in her assistant Amanda’s fixation on the live footage of the oil spill in the Gulf of Mexico. In this way Carey attempts to explore universal human responses to disaster and pain.

There are some interesting ideas nestled within this book which at a cursory glance is not particularly enthralling. In saying this, however, there are mysteries to be revealed, not least the absent Matthew, whose character and feelings are revealed to us in a slow trickle.

As I Walked Out One Midsummer Morning, Laurie Lee

In 1934, aged 19, Laurie Lee left his Gloucestershire village home for London, on foot, with only the sparsest of supplies, a thought that is likely to stir wanderlust in the heart of the reader. After having witnessed the sea for the first time (a deliberate detour on his way to London) his travels eventually lead to Spain. As I Walked Out One Midsummer Morning is his recollection of this trip, a sequel to Cider With Rosie, but perfectly readable as a standalone.

His path is by no means easy as he is constantly having to find shelter, relying on the kindness of strangers and his busking with a violin to provide sustenance, a not infallible plan. This is not to mention the physical exertion required to travel by foot, although he does comment on the ease of this in youth that quickly diminishes with age. At times the terrain and weather create an intense challenge, particularly notable as he struggles across the Pyrenees in a snowstorm toward the end of the book. Hardships aside, his road is filled with wonderful characters, comradeship, and a fair few sexual liaisons. He describes the landscapes he passes through with poeticism and provides a vivid snapshot of the places he visits, oblivious to the fact they are on the cusp of the Spanish Civil War. The sudden shift is horrifying as corpses are found on the road. The reader is shocked into the realisation of the harsh realities of war in otherwise peaceful communities and we witness Lee struggle with the opportunity to escape to safety.

His journey is by no means a privileged Grand Tour, but rather the story of a young man enjoying the freedom of movement that would shortly be stripped away. He steps beyond the grand streets and experiences life as it is for the inhabitants of the time. A wonderful memoir of the wonder of exploration and the fierce loyalty that can spring from new encounters.

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Eugenius!, 29 June 2016

In the final stages of production, Eugenius! had its premiere in concert form in front of an enthusiastic audience at the London Palladium. Telling the tale of a teenaged comic book geek dreaming of making it big with his originally named characters Tough-man and Super Hot Lady. With the encouragement of his love interest, luck is in his favour and his story is taken on by a Hollywood studio where it is swiftly adapted beyond recognition. Little did he know that when the characters appeared to him in a dream they were in fact depicting real life aliens and before long Evil Lord Hector, played brilliantly by Warwick Davis, is crashing the shoot and plotting ‘Tough-man's’ demise.

Eugenius! seems on first appearances to be a standard teen romance with the predictable rise of the underdog, but with the presence of a spaceship it takes on a rather bizarre, alternative identity. I’m reliably informed that the musical is littered with 80s references, which may well be lost on younger audiences, as well as plenty to keep superhero fans entertained. It feels like it would appeal to a younger audience, even if they are oblivious to all the pop culture references from the era and to the many sexual innuendos.

The stellar cast shine on stage and the lack of costume and sets does not detract from their skilled performances. David Bedella as the director is confident and domineering, his assistant, Samuel Holmes, brilliantly comic in a more subtle style than Daniel Buckley’s Feris, who gives an excellent comedic performance. The choir and dancers from Arts Ed and Laine Theatre Arts are well directed to create atmosphere and touches of humour.

The dialogue and songs were on occasion stilted or overly cheesey but I can’t deny I’ve had ‘Go Eugenius, go Eugene!’ from the theme song stuck in my head all day. Kudos is due also to the musicians who successfully transported the audience to another world.

An ambitious new musical that takes a refreshing step away from the standard fare on offer in recent years. This is a high energy, fun production that certainly has potential. I’ll be interested to see what they do with it in full production.

Hay Festival 2016, Part Three

Germaine Greer on Shakespeare’s sonnets:

Germaine Greer led a close reading of four of Shakespeare's sonnets. She started the session by introducing Shakespeare as poet and discussing the printing of the sonnets. She pointed out that although today he is best known for his plays, during his life he was famous for his poems, indeed he may have been quite obscure as a playwright, not an uncommon situation for members of the profession at the time. He shot to fame in 1593 with Venus and Adonis which went through at least sixteen editions before 1643. As he wrote the poem in the vernacular women and slaves could read it, giving him a much broader readership. His sonnets were published in 1609 and only thirteen of the original editions survive. Greer warned against taking the text to be entirely accurate, likening it to a fossil. Much of this unreliability comes from the bad printing of the originals, which were hastily and messily produced. In addition, Shakespeare did not see it through the press as he had with Venus and Adonis. 

The first sonnet to come under Greer's close inspection was sonnet 57. She pointed out that it begins with a question, as if we have dropped in mid-conversation, evidence that the sonnets are like mini plays. The tone is domestic, hinting that the speaker may be a woman. In Elizabethan times women couldn't follow their husbands unless called by them to do so. Greer questions whether or not it is slightly over-dramatized and remarks on the unconventional structure - the two parts of a sonnet are meant to contrast, but here they do not. She also takes issue with the final rhyming couplet, a common problem she sees in Shakespeare's sonnets, that they don't quite fit with the rest of the poem, suggesting that he should perhaps have used the twelve line form instead.

She focussed briefly on sonnet 94 which she sees as having a completely different pace to 57. The  subject being of people who manipulate others taking the glory while those who show their emotions are losers. This she sees as relevant to today, being particularly evident on social media. Greer concludes her discussion of sonnet 94 by highlighting the similarities between psalms and sonnets in that they are addressed to someone who is away, who will not hear or respond.

The final sonnets to gain her attention were 110 and 111. 110 has an air of cockiness about it, a feeling of the cavalier. The speaker is saying that by having relations with others they have realised that the subject is their best love. 111, by contrast, reads more as an apologia in which the speaker bemoans their lack of integrity and having fallen into what people think they are.

To host a close reading with such a large audience is no mean feat but Greer handles it well, providing an hour of entertaining, engaging thought. She left us with the challenge to learn the sonnets by heart, a challenge I'm tempted to take on.

Caitlin Moran in conversation with Stephanie Merritt:

Caitlin Moran spent an entertaining hour talking to Stephanie Merritt about her latest book Moranifesto,  which lay the way clear for discussion of pretty much anything. She gave her opinions on the Internet - an invention that she sees as extraordinary for its ability to allow people to communicate unmediated for the first time. She spoke of its benefits of connecting people, reducing feelings of isolation, and its power to help bring about change. That's not to say it's not without its problems of course, she admits that it is still a baby and has its tantrums but that it will mature. She also spoke of the importance of girls learning to programme. In the digital world it is the language of the future and if you don't know it you will be excluding yourself.

Talking of exclusion, she moved on to the narrowing of voices in the media. She decried the uniformity caused by the current culture of lengthy spells working for nothing to gain experience, excluding all but those whose families are able to support them while they do so. She pointed to the loss of libraries in having a huge impact on the widening of this divide. Before I go off on a vociferous rant in agreement on the state of the employment market and the crushing loss of one of the public's most valuable commodities I shall leave you with Moran's excellent statement - equality is not a luxury, it is absolutely essential for our happiness and progress.

John Crace and John Sutherland: a Brontësaurus:

The end of my Hay experience this year came with John Crace and John Sutherland portraying the Brontës in very different styles. Crace performed a short parody of Jane Eyre which drew a fair few laughs from the audience. Staying with the novel, Sutherland's discussion was somewhat darker, touching on an aspect of the historical context that had never occurred to me before. We know, of course, that Bertha is not English, but he goes further in the thought process by considering where Rochester's fortune comes from - Jamaica, linked to slavery. Even further still - where does Jane's eventual inheritance come from? Madeira, again from work reliant on the toil of slaves. This puts a rather different spin on their 'happy' ending.

In his hotchpotch overview of select academic thought on the Brontë sisters Sutherland's focus rests predominantly on the defiant nature of all three. He points to Patricia Beer who highlighted the defiance of the well-known phrase 'Reader, I married him.' She married him, not the other way round, not an even 'we were married'. At the time of publication this would have been a shocking concept.

Emily is known as of fiery temperament and with little interest in social customs, but Sutherland claims that what she left in her second novel was so shocking that Charlotte is suspected as having destroyed it. One can't help but wonder if given the chance she would have done the same to Wuthering Heights, as both she and Anne were shocked by the content as they worked on their novels alongside each other (thank goodness it did not suffer the same fate!). Her second novel, of which I knew nothing previously, seems set to remain a tantalising mystery. He spoke of her killing herself, a questionable assertion, by refusing to eat, that she'd obviously found something in the world she couldn't cope with.

He turned finally to Anne, the sister so often over-looked in the face of the passionate, unforgettable characters created by Emily and Charlotte. Sutherland claimed that she was the most disobedient of the three, an assertion that sparked questioning murmurs from the crowd. Calmly, he explained that in her final weeks she refused to go to her sick bed but instead demanded that she go to Scarborough via York. Testament to her strength of determination that it was in Scarborough that she spent her final moments, and to Charlotte's charity in burying her there, where she had been happy, rather than bringing her back to lie with the rest of the family at Haworth.