The opening of the Dukes/Red Ladder co-production of Glory on Friday was Sarah’s last duty before going on maternity leave. If this baby arrives on the same schedule as our first, it’ll be tomorrow. It’s getting a bit real.
So last week was a good one for contemplating the magnitude of such life choices. Not just because of the heating planet: it was half-term, so between us we needed to find a full week off work in order to look after our firstborn. It being Sarah’s last week, I got very little done and instead mostly spent a lovely week with Dot. Therefore this post will be short.
Glory, though, was a source of great pride. I’m on the board of Red Ladder and it’s been a real thrill to watch them gradually get back to fighting weight after the shock of being omitted from the National Portfolio a few years ago. I joined the board shortly after the company left the portfolio and have watched (and, to some degree, participated) as they’ve shifted their priorities and their focus, re-engaging with their community as well as hugely increasing the ambition of their work.
I wish I could claim some credit for brokering this co-production with the Dukes, but despite appearances, the collaboration between my wife’s theatre and the company on whose board I sit had absolutely nothing to do with me.
Glory was also a terrific symbol of the journey the Dukes has been on since Sarah became AD two and a bit years ago. That was the sixth show the theatre has produced this financial year, which given the scale of the operation and the challenges facing all theatres, is pretty remarkable. Included in that six is the most successful Christmas show the theatre has ever produced, a new kids’ show several of whose tour venues described as “the best show we’ve ever had”, a sensational production of Educating Rita, a play I’d previously thought little of and two major co-productions. Added to which, the family shows have thrived on joyous subversion of traditional gender roles and been built on a basic assumption that a diverse cast and creative team is a given.
And then there’s Glory. Glory is terrific. The plot has the structure of a Bernard Manning joke: a British East Asian, a black ex-squaddie and an asylum seeker go into a wrestling gym. And Jim Glory, the faded former wrestler who owns the gym, is a bit of an accidental Manning, peddling lazy assumptions and backing them up with faulty logic. For the rest of the show the four characters pit themselves against the assumptions they’ve made about one another, and that we’ve made about them. You could describe it as a bit mechanistic, as Mark Fisher does in this excellent review, but as Mark also points out, that’s to overlook the wit and flair with which it’s done. The production is fantastic, the cast is fantastic. The design is gorgeous and the lighting is beautiful. And the wrestling is fucking incredible.
When Sarah became AD at the Dukes, I was obviously thrilled, but I had to mourn the loss of my regular dramaturg. My loss is Nick Ahad’s gain. It’s obviously not all down to Sarah, but I think this is by far Nick’s best play yet. His works sits in the same bit of the spectrum as that of Richard Bean: broad, raucous, hilarious but also bruised and bruising. At its best it has the potential to get into Martin McDonagh territory where there’s real scabrousness and bite. And where both of those dramatists have come apart a bit in recent years through work, (and statements in defence of their work) that comes perilously close to (some would say “is”) deliberate racism, Nick’s experiences as a British South Asian mean that when he gets into this territory he does so with a sense of responsibility and nuance that – believe it or not – doesn’t weaken the jokes. If he wounds, it’s because he’s wounded.
Glory is touring. It deserves a long life. You should go.
Book of the week: I’m still ploughing through the doorstop that is This Land is Our Land; it’s still brilliant and scholarly, but on Sunday I took a break and while Dot was asleep I raced through Vassos Alexander’s Running up that Hill. It’s a breezily enthusiastic account of his experiences in the world of ultra-running, running iconic races like the Spartathlon, the South Downs Way 100 and the Dragon’s Back. He’s tremendous company, Alexander, and I’d happily run alongside him for a long way. Ideal Sunday reading.
Run of the week: It was a fairly light training week last week so I didn’t think I’d have anything to report in this category. For the first time in a while my Sunday long run wasn’t anywhere hilly or scenic so it didn’t seem likely to be noteworthy. It wasn’t even especially long. But it was tremendously satisfying. The same loop was my final longish run before the Yorkshire marathon in October and that time I set out to run it at target race pace, around 7:10/mile. It was a really hard effort and I barely managed to hold the pace. On Sunday I set out to take it fairly easy: not plodding but not racing either, keeping my heart rate in the aerobic zone, which threshold for me is around 155. I have no idea whether I stayed in that zone as my watch died after three miles, but before then I was ticking along at 7:10/mile and the effort seemed steady so I stayed at that pace. So what was a hard workout in October is now a fairly easy Sunday trot. More evidence in favour of making a serious assault on sub-3 at the Edinburgh marathon in May.
Show of the week: I saw four shows this week and I’ve talked about one above. The others were all also excellent and as I’m not watching anything soon, I’ll spread them out and talk about them over the next couple of weeks. But for reference, in case they’re near you, I highly recommend Mother Courage at the Royal Exchange, Rabbit Girl and the Search for Wonder by 154 Collective (touring; which I saw at the Dukes) and Duvet Dancing, a kids’ dance show which we took Dot to at Lancaster Arts. Dot responded by at one point stripping down to her pants. No-one knows why. It's been a lovely week.
Pessimism of the Intellect, Optimism of the Will