Monthly Archives: January 2017

The personal benefits of looking outwards

 

Often society can agree on a problem without agreeing on a solution. In recent times, many people across all age groups have been felt to be suffering from anxiety due to a range of causes, and mental health is a great social and political concern.

Although we might hesitate to apply blame too specifically, especially if it would make us seem too conservative or old-fashioned, there is often a general shared diagnosis that some of the forces which used to help keep society calm and healthy  – family, employment, religion, community – no longer, rightly or wrongly, are able to do so in the same way.

Carol Craig, in a post from her Centre for Confidence and Wellbeing, encourages a move away from materialism and towards spirituality as one step which would reduce anxiety in modern life.

Interest in conventional religion has dropped significantly in the UK in recent decades, so it is striking that often we try to hold on to elements of spiritual and religious life even as we re-characterise ourselves as secular. One of these elements which has come into vogue is mindfulness, being aware of yourself and your thoughts and feelings with a view to striving to develop senses of calmness, gratitude, pleasure and kindness.

Some educationalists have gone so far as recommend the practice of mindfulness in schools as they feel that the decline in Christian or other religious assemblies has made pupils less aware of the importance of reflection and spirituality. 

Although media reports usually mention the Buddhist origins of mindfulness, it bears similarities also to Christian prayer. Those of us who are Christians know we should pray to God to thank him for the physical and spiritual benefits he has already given us just as often as to seek help and support for the future.  I was struck to read a Christian minister and academic, Dr Ian Bradley, recently make this point explicitly.

 “Mindfulness is a profoundly Christian thing”, he said, so “the Church…should be encouraged to get more involved in pilgrimage, spiritual adventures that focus on mindfulness and meditation.”

Moving a little from the personal to the public space, Carol Craig suggests another valuable way to improve well-being is to look away from yourself and your immediate feelings and problems. Instead, take part in community activities, or in the work of organisations which share your views and values – a church, trade union, charity or political party.

Mindfulness was among many ideas covered in Swapping Psalms for Pop Songs, a rather non-pithy title for a recent BBC Radio 4 programme on the Sunday Assembly. This organisation, which launched itself as “the atheist church” which celebrates life and helps others, identifies itself specifically with community and social co-operation.  Its various local branches have allied themselves with food banks, health groups and housing associations.  

Ministers from different Christian denominations were both supportive and critical of the Sunday Assembly and presenter Mark Vernon suggested that this might mean that the organisation was “refreshing” a modern concept of spirituality. In the programme, academic Linda Woodhead emphasised that many people nowadays who see themselves as non-religious are not atheist. In the past, church congregations regularly included people of modest faith who saw them as “hospitable…filling stations” at certain stages of their lives. Nowadays, she argued, churches are seen primarily for the strongly committed and the more agnostic do not feel they have anywhere to go.

I do tend to share the view that any individual who has been a practising Christian all his or her life has probably become more strongly committed as the years have passed. It is also true that different times and events in your life might attract you towards or discourage you away from an organised religion. However, I definitely do not think that most Christian church leaders nowadays are dogmatic. Most whom I have observed have a very strong sympathy towards human frailty and inconsistency, and they both speak and practise the language of compassion.  They are very happy for people to join or rejoin their congregations at any time when those people feel that God is speaking to them.

I strongly share the view of Carol Craig and others that a way for any individual to reduce personal anxiety and to increase personal happiness is to practise a positive appreciation for the things which every day are going well in your life, and to share your talents and interests with others.

And to apply anew that dictum which was often quoted among political and social activists in the past:  think globally, but act locally. 

  

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Gangsters and their molls in New York and Havana

 

Happy New 2017!

As a theatre lover I recognise that Broadway musical plays of the 1940s and 1950s such as Oklahoma and Carousel are as important pieces in their own way as the work of Brecht and Beckett, but I’ve never really been a fan. Probably to do with the fact that the actors in screen musicals like Howard Keel and Gordon MacRae always seemed a lighter thinner breed in comparison to Spencer Tracy or Humphrey Bogart or Henry Fonda. Possibly also to do with the fact that my teenage pop listening days also included that bizarre later era of musicals when every established dramatic genre was twisted and turned into a musical like Paint Your Wagon or Camelot or Scrooge or Man of La Mancha. 

However, despite not being a fan of most musicals, I am a fan of Guys and Dolls.

This emerged from my great interest in the National Theatre in its early years at its home on London’s South Bank. That interest was spurred by their practice of touring productions to Glasgow plus the fact that one of their three auditoria, the Cottesloe, had a company for many years led by director Bill Bryden from my home town of Greenock. Guys and Dolls, by Jo Swerling, Abe Burrows and Frank Loesser, was staged at the NT in 1982, directed by Richard Eyre. He discussed it on Desert Island Discs in 1985 in an interview which is still available to hear on the BBC Radio 4 archive.

One interesting snippet from the interview is that Laurence Olivier originally planned to produce Guys and Dolls during his own stint at the National Theatre.  I love Eyre’s anecdote about Olivier’s criticism of his production’s New York accents being “a bit of a melange” and his view that Olivier’s vocal performance, in contrast, “would have been placed exactly to the right street corner”!

 

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The southern half of Manhattan, as seen from the top of the Empire State Building in 2003.

 

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Near Times Square in New York – definitely “Guys and Dolls” territory.

 

The NT was sometimes criticised in its early years for being too dependent on star actors and the cast of Guys and Dolls certainly had some of my own favourites of that time. Bob Hoskins of Pennies From Heaven and The Long Good Friday was Nathan Detroit (perhaps this led to his American characters in Who Framed Roger Rabbit and Mermaids), Ian Charleson of Chariots of Fire was Sky Masterson, Julie Covington of Rock Follies was Sister Sarah Brown. Among the supporting players was Bill Paterson as Harry the Horse.  

This cast did not come to Glasgow but I did see in Edinburgh a touring production in 1985, which Eyre refers to in the radio programme.  I was always struck by that show’s slightly unbalanced casting. The main star billing went to Lulu, then finding her new route between two periods of pop music fame, who was Miss Adelaide. Nathan Detroit was played by long-established TV face Norman Rossington (similar to Bob Hoskins in his earthy persona I suppose, but perhaps then less fashionable). Sky Masterson was the black US actor, then unknown but later more familiar, Clarke Peters. I enjoyed the production although I felt it displayed more of the elements of an old traditional performance rather than a cooler new one. (I think this cast did, however, transfer to London for a time). “Sit Down, You’re Rocking the Boat” sung by Nicely-Nicely Johnston is traditionally regarded as the show-stopper song and David Healy had been retained from the original cast, but I definitely recall finding this section technically impressive (with its two encores which appeared to have become standard) rather more than emotionally or artistically.

Soon after I enjoyed the film version, directed by Joseph L. Manciewicz, who was similar to Richard Eyre in being unused to directing musicals.  Frank Sinatra and Marlon Brando were paired in the two leading male roles. Sinatra would possibly have been seen as a safe piece of casting as Nathan Detroit being an established performer in screen musicals alongside the fashionable but provocative young dramatic actor Brando, but it’s easy to forget that in 1955 he was still younger than 40 and only two years into the new career which had been launched by From Here to Eternity and its attendant Oscar.

 

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Some old American cars in Havana, Cuba, in 2014. Part of “Guys and Dolls” takes place in Havana, a glamorous spot for American gangsters in pre-Castro times.

 

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The Bacardi building in Havana, built in 1930.

 

As with many folk of my age, my ideas and tastes in theatre were influenced by the writings of Kenneth Tynan, and Tynan’s review of the London premiere of Guys and Dolls still reads well: not just for his confident assessment of the show’s quality – “not only a young masterpiece, but the Beggars’ Opera of Broadway”, but his adoption of the language of its Damon Runyon characters: “Miss Adelaide, his ever-loving pretty who is sored up…”; “…being short of ready scratch, Nathan places a bet…”; “I will give you plenty of eleven to five that it is the first fugue that many patrons…ever hear”…;  “I found myself laughing ha-ha… more than a guy in the critical dodge has any right to”.      

This is probably the most famous work of its songwriter Frank Loesser. Songs as strong as any by more famous musical craftsmen like Rodgers and Hammerstein, the fruity, quirky Damon Runyon dialogue and its exaggerated delivery by the flashily dressed small-time criminals; the New York setting – all combine to keep Guys and Dolls fresh in my affections.

 

Reference:   Tynan, Kenneth (1984)   A View of the English Stage 1944-1963   London : Methuen

 

 

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