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A couple of weeks ago, I went to Madrid with work – the first trip since the whole, sad divorce thing. I had been worried that it was going to be awful – and in some ways, it was (the reality of being away from everyone, and the fact that that will be a reality for most of my week nights soon etc.), but in others, it was good to be immersed in work and have not one moment unaccounted for. To my delight, I was also there with Old Friend at Work (who has been by my side and an incredible friend through all this), Alison Steadman Playing a P.A. P.A, Eternally Optimistic Spanish Planner, Planner With the Aura of Jesus, The Smallest Media Planner in The World, Stereotype of a Northern Planner, and others.

We worked pretty hard by day, but at night we drank like absolute maniacs – until 3 in the morning (or in the case of Old Friend at Work; Planner With the Aura of Jesus, The Smallest Media Planner in the World, and Alison Steadman Playing a P.A P.A, through the night in a couple of cases) on most nights, even though we were to start a nine hour day again, at 9 (in a defiantly non-Madrid manner). On one of these occasions, Old Friend at Work got her purse nicked from the hotel bar (only to be met with the response from Reception of “At least they didn’t get your passport, that’s what they’re REALLY after”, which isn’t exactly a masterclass in Customer Service). On another, Planner With the Aura of Jesus and Alison Steadman Playing a P.A. P.A. sat up all night drinking in the hotel bar, then moved to her room (entirely innocently, my new situation prompts me to add, unnecessarily…) and finished off the mini-bar.

But it was on the third night that things got, as the phrase goes, “messy”. I didn’t particularly embarrass myself, I can say with some relief: yes, there was the usual over-enthusiasm about stuff (most notably, Shakespeare – but also some vague shit about strategic approaches, which had me suddenly behaving like St. Paul on the road to Damascus, and celebrating by bellowing “Yes! Yes! God! That’s BRILLIANT! YOU’RE BRILLIANT!” at some poor fucker), and probably a little bit too much swaying around and smiling broadly – but that was as bad as it got. So, when it came time for me to leave (a respectable 3.30am), I said a few goodbyes and made my move, only to be “confronted” (if I can use this word of a man of his Micky Rooney like stature) by The Smallest Media Planner in the World.

“Stay and have another drink!”

“I can’t, SMPITW, I’m already pissed and I’m knackered, so I’m going.”

“Stay. Have a drink with me.”

“I can’t. Really. Tomorrow.”

“Have a drink with me. As a friend of mine.”

“No, I’m going.”

What he said next rather diminished his most recent pronouncement of our friendship, for it was:

“Then fuck off, you cunt. Fuck off.”

Well, off I fucked and went back to my simply enormous room (enormous not because of some ludicrous status, but because I had been allocated a room for someone in a wheelchair – which I’m not – and as a result, the dimensions of the room had to allow for the turning circle of same), had a shower, put on my iPod speakers and fell asleep listening to “The Gathering”, as read by Miss Shaw.

It turns out the The Smallest Media Planner In The World hadn’t turned against me, but against humanity: for he had told a round score of people to fuck off later on that night, and had christened about half of them “cunts” as well. Turns out that when he gets sauced (and again, his stature is such that one might have thought a couple of bottles of beers could be dangerous), he becomes that famed, but rare animal The Bad Drunk. He had stuck with the gang long enough to move on with them at 4am to a Piano Bar, where he doled out the bulk of his insults, before having a quick nap and getting back to the hotel at 6am. I wouldn’t be such a turd as to remind him of his bad behaviour the next morning – I dread to imagine what people put up with from me when I have got myself absolutely twisted – so I met him cordially at the beginning of the final day’s session and asked him what time he had got in. He had (or feigned to have) no memory of having parted brass rags the previous night, and his answer to me was as one amazed:

“I don’t know. Late. But I feel fucking awful this morning. I woke up surrounded by Pringles, and with the towels all soaking wet in the shower.”

Out of Darkness, Light

Don’t worry: I’m not going to go into Catholic overdrive on you – and I’m still pretty shell-shocked by the discovery of my wife’s affair, so it will be a short one – but it’s worth noting that one of the good things that’s come out of this devastating turn of events is the support you get from people: some expected (family, friends) and some of it from the most unlikely sources. Thank God for good people!

New Year, New Life

Well – at least it makes some sort of sense in terms of helping me remember dates: not normally a strong point of mine…

Last night, I found out that Wife has been having an affair since Summer: an old school friend of hers. So, we’ll be getting divorced and putting an end to nearly ten years of marriage, and fifteen years of love, out of which came three of the most wonderful people you could hope to meet. For their sake, I am very sorry that it’s come to this – but I suppose that one has to be accepting (as I think I wrote earlier on here somewhere) of the difference between the things that one can and cannot change.

So: rough times ahead, no doubt – but after that, a better life, I pray.

Merry Christmas

A Merry Christmas to everyone.

I hope you get everything that you need, and some of what you want.

Eiljert

Lurking Vitamins

Wife made muffins for breakfast this morning (not proper ones, but those American cup-cake things) – not because she actually IS Doris Day, but because we didn’t have any bread in the house and she decided that it was actually easier to make these than to go out and get some bread.

Anyway, she used Clementines to give the muffins a bit of oomph, eliciting the following response from Eldest Son: “Mummy, I like these, but not the orange things – they taste a little bit like vitamins.” Wife (understandably) apologised profusely for this lapse, and Eldest Son showed the tolerance and mercy for which he is celebrated – “It’s alright, Mama, you weren’t to know”.

Christmas

Apparently, other than “money”, “Christmas” is the most dangerous discussion that a couple hoping to stay together can embark upon. If they choose to have this conversation whilst in the car park of IKEA, they are well and truly fucked, to the extent that initiating the conversation may be considered inflammatory and grounds for granting custody.

Anyway, Wife and I DID embark on the conversation this week: her half-sister has invited us, and my sister has invited us. On the one hand, I haven’t spent Christmas with my family for the last three years, given that they were in New York. On the other hand, we have never spent Christmas with any of her family (although her parents were divorced very early on in her life and lived entirely separate lives, so it’s not as if we were turning our back on a Rockwell-style offering) and so it could be argued that the time has come.

We haven’t resolved it yet: what IS clear is that we will manage to get to both families on “The Day”, with the handy deployment of the “Drinks” and “The Meal” being taken as two separate events – but we need to get clear pretty swiftly, out of respect for our two hostesses, one of whom is going to have to find a piece of meat that serves somewhere between 16 and 20…

Client Bi-Polar Disorders

It’s “the run-up to Christmas”, which means that the stupid requests from Clients are coming thick (sometimes, so staggeringly thick that “dumb” might be a better descriptor) and fast. There is something about “getting it done before Christmas” that makes Clients feel reassured and in control – the fact that they won’t review the work until mid-January (“the post-Christmas pile-up”) is, of course irrelevant: they want it then, they pay the bills and so there it will be.

Needless to say, this is complemented by their own behaviour of treating any entreaty to review something “as a matter of urgency” as a light-hearted joke on the part of the Agency: a “take it or leave it” indication that their point of view MIGHT be needed at some point in the next couple of weeks, but not to worry unduly about ACTUALLY doing anything.

Oh well: I’m just bitter and angry because they’ve just asked us to prepare a fairly comprehensive review by lunchtime tomorrow (the scale of which makes it explicit that what they’re really saying is “Work all through the night to do this”), while our pleas for them to look at scripts, storyboards, edits, etc fall on entirely deaf ears. I’m flying off to Milan (to spend the night in the A.C. Milan Hotel – which promises much football-themed fun and delivers precisely nothing in the line of “fun”, football or otherwise) where I am going to present some thoughts on a target demographic. As part of the morning’s task, I have been asked to “describe her in such a way that we think we might know her” – which is OK in itself, but actually means “describe a woman with whom I feel familiar, would like and would probably want to marry” from this male team. Detailing the concerns, the insecurities and the injustices that these women experience (and sometimes inflict) may be the most useful job I could do – but they don’t want that, they want a pen-portrait of a woman they feel happy to be selling brands to: a very different thing.

Oh happy day! Clearly Fiona Shaw reads this blog (someone has to) and she has done the right thing and decided to spend a LOT more time on stage – so, pretty much as soon as the mighty “Mother Courage and Her Children” closes its run at the National Theatre, Ms. Shaw returns to Wilton Music Hall to perform T.S.Eliot’s “The Waste Land”, some ten years after she first performed it there, directed once again by Deborah Warner.

The unparalleled Shaw apart, the venue is a great reason to see and hear this production: London’s only surviving Victorian Music Hall, it’s a haunting and evocative place, perfectly suited to the poem – or it was when I first went there ten years ago, perhaps it has been rejuvenated and refurbished in some awful way. I doubt it.

Anyway, I am beholden to a certain “Epidaurus” for the tip on “The Waste Land”, now confirmed in the press and on-line. Do see it if you can – even Wife enjoyed it, and that’s saying something.

“The Habit of Art”

Alan Bennett’s new play, “The Habit of Art” opened yesterday.

Seeing it, I was reminded of something that David Hare wrote about the reception of “Pravda”, the Fleet Street satire that he co-wrote with Howard Brenton. Before a single review had been written, before a single line had been spoken, the two authors, sitting in the audience, looked at each other in delighted disbelief because it was already apparent before the lights went down on the first night that the audience had decided to love the play. Every line was met with delight, every laugh was twice as loud, and twice as long as they had dreamed, and the ovations went on and on.

And so it was with “The Habit of Art” – a consideration of artistic identity told through an imagined encounter between Auden and Britten when both men were in their sixties.

What struck me was that Bennett had (according to the programme note, quite late in the day) framed the story as a “play within a play” – enabling any questions that had arisen in the rehearsal process of the original, unadorned play to be voiced (and answered) by the playwright, stage manager and other attendant crew who watched a “run-through” in the rehearsal room. I think it worked very well, enabling Bennett to add a consideration of the process of acting and theatre as another example of identity being accorded to those who create out of habit and determination, as well as love. Alex Jennings (as Britten – and the actor performing the role) gave a beautiful pair of performances; Frances de la Tour provided a magnificently tired, cynical, but loving portrait of a woman who had spent her life not just in the theatre, but in a role that subjugated her identity and desire to others – and Richard Griffiths (stepping in at late notice for Michael Gambon) gave a performance of tremendous charm, maybe not quite as unforgettable as his “Hector” in “The History Boys” – but tremendously affecting, funny and clear. Definitely one to see.

Seen within a month of David Hare’s “The Power of Yes” it was another striking example of a great playwright who had presented a play that used commentary, notes and glossing to tell his story and present his argument. And then, of course, there is the powerhouse performance of Fiona Shaw in Brecht’s “Mother Courage and Her Children” – the ultimate playwright glossing his own work with a commentary. All three plays are running at the National Theatre: all three are giving us a very clear view (though from three very different positions) of dramatists examining –  possibly even doubting – the traditional form of the play.

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