Portobello Rd., 1978.
From London Labour and the London Poor by Henry Mayhew, 1851: Concerning street musicians, they are of multifarious classes. As a general rule, they may almost be divided into the tolerable and the intolerable performers, some of them trusting to their skill in music for the reward for their exertions, others only making a noise, so that whatever money they obtain is given to them merely as an inducement for them to depart.
We’ve had the pleasure of showing Marketa’s photographs of London on these pages before, and the pictures on here today are from her new book To Remember — London Street Musicians 1975–1990. This volume draws on Marketa’s intimacy with east and west London, as almost all the images are from the street markets around Brick Lane or those of the Portobello Rd..
Cheshire St., 1978.
Marketa is photographic royalty, a point emphasized by a couple of contributions to the new collection by two of her admirers. Shortly before he died, John Berger wrote the book’s foreword; and, opposite the dedication page, is a 1978 photo of Marketa and her young son Matthew travelling on a bus, an image by Henri Cartier-Bresson.
Cheshire St., 1982.
The world Marketa documented has to a large extent disappeared; apart from anything else, both east and west London have been transformed by gentrification and ‘social cleansing’. Some of the street performers in her pictures look as if they might be illustrations out of Mayhew’s 1850 accounts of London street types; these photographs have a timeless quality. Ironically, the pictures that seem slightly tied to period are the ones of younger, ‘alternative’ street performers, a phenomenon indelibly associated with the 1970s and 1980s.
Covent Garden, 1978.
As I’ve said before, Marketa has an amazing gift for empathy and an ability to get inside a situation without imposing her presence on it. It is clear that she knew many of these performers very well; and if you look carefully, you can see the infant Matthew in a couple of the pictures, his presence a reminder that Marketa had to keep her eye on him as well as the musicians she was photographing. This is photography as a way of life, as a way of being. She was meeting the street performers on an equal footing; she was as much a part of their landscape as they were of hers.
Portobello Rd., 1975.
You don’t need me to tell you how moving these photographs are. In the previous entry we devoted to Marketa I wrote about her astonishing picture of a man singing in the street, which for me is one of the greatest photographs of a performer made by anyone anywhere. A few of the street musicians in her photos have clearly lost hope; but it is the images of those giving their all that are the most poignant. I have no idea whether ‘Caruso’ in the image at the top of this page was a good turn or not – but on the basis of this picture I am prepared to give him the benefit of the doubt. If anyone was ever prepared to ‘fail better’ it had to be him. (I am also, inevitably, reminded of this famous recording which has at its heart the song of a homeless man on a London street.)
Notting Hill Gate Underground, 1975.
Bacon St., 1977.
Portobello Rd., 1977.
You can buy Marketa’s book at a few good bookshops (Whitechapel Gallery Bookshop, The Photographers’ Gallery, Camden Arts Centre, London Review of Books, Koenig Books Charing Cross Rd., Pages of Hackney, Donlon Books, Burley Fisher Books, Book and Kitchen, De La Warr Pavilion Bexhill-on-Sea) … or direct from Marketa herself.
All photos © Marketa Luskacova.
To launch To Remember, Marketa will be discussing her work with Andrew Dempsey on Monday 13 February at Leila’s Shop, 15–17 Calvert Avenue, London E2 7JP. From 6.30 pm.. To reserve a seat (recommended) email email@example.com.
From A London Phantom by R. Thurston Hopkins:
I spent many evenings with Dowson in the Bun House. Though the name of this rendezvous has a doughy sound, it never at any time offered buns to its customers. It is just a London tavern, but it was part of the literary and newspaper life of the eighteen-nineties. It was there that I saw Lionel Johnson, the poet, John Evelyn Barlas, poet and anarchist who tried to ‘shoot up’ the House of Commons, Edgar Wallace, just out of a private soldier’s uniform, Arthur Machen in a caped ‘Inverness’ coat which he told me had been his regular friend for twenty years. …
After I had met Dowson a few times at the Bun House we would sometimes rove forlornly about the foggy London streets, initiated bohemians, tasting each other’s enthusiasms. … As we wandered about London at night we often played a sort of game which we called Blind Chivvy. The idea was to find short cuts or round-about-routes from one busy part of London to another by way of slinking alleys and byways which then were not well known to the average London man.
D.S.: We at The London Column like to think of ourselves as being in the vanguard of the Ernest Dowson Revival, but we can’t deny that our Ern remains something of a niche interest. My friend CJ – one half of the award-winning (really) wine blog, Sediment – is unconvinced by my claims for the poet who wrote the quintessential ‘decadent’ poem of the 1890s, Cynara. That said, CJ liked the sound of ‘Blind Chivvy’ and agreed to join me for an afternoon in a bid to play it. Admittedly, we were doing it on a bright July day rather than a murky November evening, and a few things have changed since Dowson’s time, but the promise of some light lunchtime drinking rendered CJ putty in my hands. We met at The Port House on the Strand, an Iberian sherry bar located in the building that was once The Bun House. In the candle-lit gloom, CJ and I munched tapas, drank white wine and attempted to visualise the interior peopled with the bohemian talent of decadent London. We failed. The ambience in the Port House is that of a bodega in Madrid, and there was no way we were going to conjure up the shades of Dowson, Johnson, Machen or anyone else. But it was a start.
Emerging from the Port House, I led a dubious CJ into a narrow entrance next door. Exchange Court is one of those ancient pathways off the Strand that bears witness to a lost London landscape. Halfway up this remnant of 17th century town planning there is a courtyard behind a new (early 1990s) bar called The Porterhouse. Before the construction of this establishment, it was possible to come here – a spot no-one had any reason to visit – and discover a genuine fragment of the ‘Great Wen’: a desolate cul-de-sac that Dickens would have recognised. When I visited in 1984, you could still see the original box office window of the Adelphi theatre, complete with Victorian London prices, bricked up in an alcove. Then they built the pub and the alcove disappeared. Now they store barrels here and the court seems almost cheerful.
We followed Exchange Court to the end and emerged in Maiden Lane, CJ looking around him like a lost Japanese tourist. ‘Where are we now?’ Doing my best Peter Ackroyd, I replied that Maiden Lane was one of the oldest thoroughfares in the West End – and, in the same mode, indicated a plaque above the Adelphi’s stage door commemorating the murder of William Terriss. ‘Who? What?’ On cue, the shutter of a loading bay was yanked open and for a moment we had a glimpse of the business end of a working theatre. The sight of the vast maw of an empty auditorium brought back memories of other West End venues, not to mention Proustian associations of childhood visits backstage. Me: ‘What’s playing here now?’ CJ: ‘Kinky Boots’. We moved on.
We crossed the road to look in the window of Rules, ‘the oldest restaurant in London’ (est. 1788). To celebrate the august history of its dining rooms, Rules’s website features a poignantly misjudged piece of copywriting which is worth reproducing here:
As well as being frequented by great literary talents – including Charles Dickens, William Makepeace Thackeray, John Galsworthy and H G Wells – Rules has also appeared in novels by Rosamond Lehmann, Evelyn Waugh, Graham Greene, John Le Carré, Dick Francis, Penelope Lively and Claire Rayner.
Whilst studying the menu I asked CJ if a publisher had ever taken him to Rules and he looked at me beadily, suggesting that I might be confusing him with someone else; Ian McEwan, maybe. Or Marian Keyes, perhaps.
Rules faces Bull Inn Court, another alley where Dowson might have gone to find company (‘absinthe makes the tart grow fonder’ is his line); in July 2015 it is a spot where office workers go to juggle cigarettes and smart phones. But a couple of doors further along, the tone is abruptly elevated by the ecclesiastical majesty of Corpus Christi. Mirroring the promise of the Adelphi, its doors were invitingly open, affording views of ‘the grey twilight of gothic things’ (or the 1870s repro version) in WC2. Dowson converted to Catholicism in the last years of his short life, so it’s at least possible that he took communion in Corpus Christi. In any case, we yielded to the lure of its gilded interior and behaved like a pair of sightseers, taking photographs and lighting candles (25 pence a go).
We backtracked west along Maiden Lane, down Chandos Place and thence into Brydges Place. We have featured Brydges Place on The London Column before, so I won’t dilate on this atmospheric passageway here – except to note that there were more homeless pitches since my last visit and the stink of piss was overwhelming. Brydges Place debouches into St Martin’s Lane next to E.N.O., where we emerged to see a Mariachi band posing on the steps of the Coliseum. Mexican dance music seemed like a bit of a departure for English National Opera, but the band looked fun and an obliging gaucho performed some impressive lasso moves for the cameras. Diverting as it was, this wasn’t the woozy, drink-soaked metropolis we were looking for, so we repaired to The Salisbury to re-group. The Salisbury was once a well-known gay pub, extensively referenced in the Dirk Bogarde film Victim, and where the serial killer Dennis Nilsen cruised in the 1970s and 80s – but any flickers of the city of dreadful night were banished by the holiday crowd ramming the bar. The Salisbury’s ghosts were as lost to us as those at The Bun House. We sat behind an etched glass window, drank London Pride and swapped stories of career disappointment. The phantom of Thurston Hopkins’s essay, who they fear is haunting them on their nocturnal rambles through London, is a man Dowson described as having ‘a face like a wizened bladder of lard’ – but in the noisy saloon of the Salisbury, CJ and I were merely haunting each other.
Opposite The Salisbury is an entrance to another 17th century survival, a passageway called Goodwins Court. Needless to say, Goodwins Court was a surprise to CJ, who remarked upon the beautiful bowed shop-fronts (18th century, I am told, although they are no longer shops, and it is hard to tell exactly what they front now). When I was a boy my parents took me to a show-business party in the house at the end, the one that abuts Bedfordbury. The host was the late Tony Sympson, an actor whose family were instrumental in preserving Goodwin’s Court against destruction. I remember a jewel-box of a house composed of implausibly large rooms, their Regency elegance constituting an act of defiance: as late as 1978, the threat of wholesale demolition still loomed over Covent Garden. The house is still someone’s home; perhaps the most desirable place to live in all the West End. Next door is Giovanni’s, a discreet Italian restaurant popular with old-school actors and producers. I have purple memories of this place too: a lunch with an actor friend which deteriorated into an afternoon lurid enough for me to give up drinking for months afterwards. After mistily reminiscing on all of the above, CJ pointed out, not unreasonably, that those anecdotes are specific to me, and that the state of my liver was of little interest to him.
Taking the hint, and with time against us – CJ’s dinner beginning to call, in far distant Mortlake – the rest of our dèrive went at something of a galop. By this stage, I had a destination in mind, a spot with more recent associations than the 1890s. We walked swiftly up Garrick Street, crossed Long Acre towards Seven Dials, cut up West Street (past The Ivy and those strangely conjoined twins of tourist theatre-land, The Mousetrap and Stomp), crossed Shaftesbury Avenue, continued north on Stacey Street – alongside the vast bulk of the Covent Garden Odeon and beyond the fragile greensward of Phoenix Garden – and finally arrived in crumbling, doomed Denmark Street.
In the 1950s Denmark Street (‘London’s own Tin Pan Alley!’) was London’s music business quarter, an Expresso Bongo world of post-Suez Britain. Then, the street was the domain of the impresario Larry Parnes, (much-mocked svengali of improbably-named singers like Vince Eager, Dickie Pride, Johnny Gentle, and some others who actually made it), songwriter Lionel Bart (‘King of Denmark Street’), the jingle writer Johnny Johnston (Softness is a thing called Comfort, Beanz Meanz Heinz, and 5000 others), and all the other personalities of the pre-Beatles universe. In the 1960s The Stones, The Who, The Kinks, Donovan, Bowie, Hendrix all came here to record, in studios carved out of 17th-century basements. Ten years later it was the turn of the phlegm-flecked protégés of Malcolm McLaren (the ’70s version of Larry Parnes) The Sex Pistols, who rehearsed and lived here for a while. And, whilst he is unlikely to get a blue plaque, Dennis Nilsen – abovementioned, hanging around the Salisbury – spent the early ’80s working in a jobcentre that used to be on the corner with the Charing Cross Road. This jobcentre’s speciality was the catering industry, and for one Christmas staff party Nilsen made his colleagues punch in a large cooking pot he brought from his home, the same pan he used for boiling his victims’ heads.
There are still music shops to be found on Denmark Street, but the redevelopment of St Giles has been the cause of much anguish amongst London’s music lovers, as first the Astoria and then the 12 Bar Club have been laid waste in favour of Crossrail and a looming corporate/retail zone. Around 1900, the year Dowson died, the great loss London suffered was the destruction of Wych St. and environs to create ‘new’ Aldwych and Kingsway (the subject of one of our previous walks). That particular act of civic philistinism didn’t just obliterate some of the prettiest streets in the capital, it cauterized life on the streets – which is exactly what it was intended to do, removing ‘unwholesome’ theatres and booksellers and erasing one of London’s cultural centres. The destruction of the area around Denmark Street is the 21st Century equivalent. How do we characterise it? London dans le style Boris, perhaps, London après Cameron, London sans coeur, etc. Chalked graffiti on the hoarding in front of the remains of the 12 Bar was eloquence itself …
By now CJ and I were starting to feel generally chivvied out. The day-glo office blocks opposite St.Giles in the Fields measured the gulf between the city of our imaginings and the one we are actually stuck with. Calling it a day, Charles headed for Waterloo and his train to Mortlake, and I boarded a quasi-Routemaster 38 to Hackney. Sitting on the top deck, in an interior as retro as the Orla Kiely catalogue, I considered the dilemma: if Soho is dead, if the West End is dead, if Chelsea is dead, if Shoreditch is dead (no cheering please), what is left? A Bright New World safe for out-of-town consumers to play in – but not somewhere you would want to live, even if you could afford to. Hence London becomes the new Dubai, and Margate the new Peckham. Good for Margate, perhaps, but London as a place of invention and creativity becomes no more than a historical footnote. Don’t look for culture here, mate, only ad agencies can afford the rent. Live music? Try the relocated 12 Bar Club – it’s on the Holloway Road (if you can find it). No call for it round here, pal. The revolution will not be televised – but you can download it as a podcast.
(I have just noticed that this post is the 250th on The London Column. I was going to apologise for the fogeyish tone, but then thought ‘why should I?’)
Remember that old 70s movie, Network? It’s mainly famous for its catchphrase – ‘I’m as mad as hell and I’m not going to take it any more!’ – and for Peter Finch’s bravura performance (which earned him a posthumous Oscar) as Howard Beale, the newscaster who has a meltdown on television and gets the whole country saying it. On Saturday night I went to a private reading of a stage adaptation of the film, scripted by my friend Chris Brand (a fine actor as well as a writer) and produced by another friend, Peter Finch’s nephew Dallas Campbell. There are several reasons why it was a brilliant evening, and the first of them – before the evening even began – was the surprise of the surroundings.
We were in the old Water Board building in Rosebery Avenue in Clerkenwell. This sounds boring enough, and indeed we had only been told it was going to be in a ‘board room’. But this is grand municipal architecture, and this particular example harbours a secret at its heart.
The Water Board building was built on the site of a previous water company building – the old New River Company building, Water House. The New River is the river you can see a bit of, running through Clissold Park in Stoke Newington; it’s technically more of a canal; built by one Hugh Myddleton to bring water from Hertfordshire to a rapidly growing London. It was completed in 1613. Water House, built in the same year, was originally a ‘cestern house’ adjoining the reservoir, and included accommodation for the site manager.Many people had use of its residential accommodation (including Edward Sadler, who was also probably the founder of next-door Sadler’s Wells). This building grew over the decades to reflect the massive success of the New River company (King James, a key funder, lost money on it, and Hugh Myddelton was created a baronet). It grew larger and larger, and more and more respectable until finally it was a large house. In about 1693, one Sir John Grene, a wealthy shareholder of the New River Company, was living in Water house, and he commissioned an ornately carved set of pannelling for a room that became known as the Oak Room… You can read a long and intensely interesting account on British History Online.
In 1914, London’s water was municipalised and Water House had to go. Work on the new Water Board building began in 1915 – stopping between 1916 and 1919 due to the War – and the building, on a scale commensurate with the ambition of its civic status, was finished in 1920. For the past twenty years it’s been flats. When you walk in through its large stone-clad entrance, it feels plausibly Edwardian – but then the first thing you are confronted with is a grand, glorious, light-filled, pink-painted Art Deco ballroom. (This, however, is the former Rental Ledger Room, and used to host ranks of large oak desks.) The building is awash with light.
Turn left and through large glass doors to a wide, high, sweeping staircase with huge windows. At the top, back through the doors, turn down a little corridor, open another door, and you are suddenly in a rather unexpected time-warp: an oak-carved antechamber, which is the mirror of another oak antechamber, at the two ends of a dark, oak-panelled room. A marble fireplace looms in the middle of the long wall, with bookshelves in the alcoves on the sides, and intricate carvings above. Pride of place belongs to a magnificent lion and unicorn panel, where the unicorn’s horn stands free of the carving.
This is Sir John Grene’s Oak Room – given new ceiling joists in the 1860s, and then carefully dismantled and reassembled in the new Water Board building – a nod to the history of the site. The room was dismantled again in the War and the panelling taken away for safe-keeping, but the ceiling could not be moved again and the central painting had to be restored again after the War. The room is very dark – it makes more sense when you know that in its day it had glorious windows on three sides, giving panoramic views over the Round Pond that was the New River reservoir, and its filter beds. It was even open to the public.
Accommodations had to be made when it was transplanted into the new building; in one corner we found a door which, opened, revealed only brick. It was on the outside wall of the building. It’s been not-a-door for almost a century, but for two and a half centuries before that, it was a door and people walked through it. And the doorways into the antechambers – two on each end of the room, with a central panel – will have been its other windows.
You could write a whole blog post just about the notion of civic pride and historical awareness, the respect for the past and sense of beauty and historical decency that made a company spend £2,000, back when that was proper money, to keep this in situ. Nowadays, they would more likely put it on display in an airlocked vault under perspex.
In the middle of the room is a giant black oval table. When we were there it was littered with scripts, plates of chocolate biscuits, and numerous large white candles. The room has electric light, too, of course, but the three-dimensional black walls seem to just absorb it. Those three walls of windows have been a bit of a loss, in fact.
So there we were. Friends on chairs around the walls of the room, with glasses of wine or gin & tonics. Around the table sat the actors. And the reading, in due course, began…
(See more here … )
NOT RESTING by Andy Secombe:
The address is a unit on an industrial estate in West London in the shadow of a mouldering brutalist tower block that would have looked ugly in Soviet-era East Berlin. Even though it’s a Sunday, 747s on final approach to Heathrow growl endlessly overhead and the traffic on the North Circular rumbles incessantly across a flyover not a hundred yards away. The unit’s door is locked and, after some minutes trying to get a response from the intercom entry system, you lose patience. You try several tactics: shouting, pressing the buzzer for sustained periods of time, eventually succumbing to violence, smashing the already broken intercom unit with your fist and, finally, your face. At last, as if by magic, the door opens. It’s a young chap in full evening dress.
‘Oh, hello. Bloody thing’s broken,’ he says, cheerily, indicating the now cracked and bloodied intercom. ‘Go on in – everyone’s in the green room.’ He pulls out a packet of cigarettes. ‘You all right? You’ve cut your forehead.’
You stare at him for a moment in disbelief. ‘You’re wearing a tuxedo.’
‘Oh, yeah.’ He looks a little sheepish. ‘Well, you know, I thought, James Bond…’
‘Thought it might help me get into character.’
‘For the recording.’
The approach, as ever, was last minute:
‘Andy, mate, hi! I was wondering if you were available tomorrow. I know it’s short notice and, unfortunately, we can only offer expenses, but I’ve been lumbered. I don’t think you’ve met Terry – the guy who owns the studio – but he’s been asked to tender for a string of idents for a new commercial radio station. I wouldn’t usually ask, but things are pretty tight at the moment and we really need this. I mean, no one’s being paid – Terry’s taking a loss on this. The thing is, we’re in competition with a few other studios for this gig, so it’s got to sound classy and for that, of course, we need top talent, hence: this phone call. The thing is, if they like what we do, they’ll put a lot more work our way. It could be a regular little earner. It’s a James Bond spoof – should be fun.’
Let’s deconstruct this a little.
The upfront “Are You Available?” from “Mate” is designed to grab your attention; the promise of work sets any actor’s heart beating just that little bit faster. All hopes are immediately dashed, however, by the word “tomorrow”, which could not state more clearly that his first second, third and possibly fourth choices have turned him down. But as your capacity for dealing with disappointment and ignoring tactlessness has been honed by years of practice, you think, Hey, it’s a job, let’s not be too precious.
Then he hits you with, “We can only offer expenses”. The beautiful dawn of hope just risen in your breast – complete with birdsong and the gentle plashing of heavenly fountains – not to mention the wonderful vision of you striding manfully into your local NatWest with a large cheque (or even a small one) is replaced by a feeling akin to leaping from a hot air balloon clutching an anvil. This feeling, however, is short-lived as, almost immediately, with the realisation you’re being taken advantage of, pressure builds in the magma chamber of rage called your heart, which, swollen by years of poor pay, poor conditions, and being taken advantage of by ‘Mates’, searches for release. Knowing this, and anxious not to have his eardrums blown out by your pyroclastic fury, he follows up almost immediately with the “I’ve Been Lumbered” ploy, designed to both deflect blame away from him and to prevent you from venting your molten rage which you must now swallow.
After all, it’s not his fault, but the fault of someone higher up the pecking order, in this case, the “Studio Owner”. This tactic implies that Mate’s hands are tied: that uncaring management is breathing down his neck and you are his only hope of salvation. This is not true. Mate – the studio recording engineer – and the studio owner are, in all probability, business partners and this little plan was no doubt hatched over a three-bottle-lunch at the local gastropub. And finally, the icing on the cake, the promise of future and regular work. This, both you and he know, is a myth but, paradoxically, is almost always the clincher.
You consider your options for a few moments.
‘When you say, expenses..?’ you ask.
‘We’ll pay your rail fare, petrol money… Tell us how much you need.’
Translation: We’ll give you a tenner.
‘When do you need to know?
This is what’s known as the rush, designed to leave you no time to think or to talk things over with your spouse. And yet, however many times you hear this tired old argument and, despite knowing it’s all bollocks, you somehow still find yourself saying,
After all, it might not be a bad way to pass the morning: there’s bound to be someone you know there and it’s always nice meeting old friends. Besides, the studio – on Greek Street – has got leather sofas, a coffee machine, free Wi-Fi and Sky Television in the green room.
‘Oh, by the way, our studio’s being refurbished – so we’ve had to relocate temporarily. We’re on an industrial estate near Acton – I’ll email you the address.’
You put the phone down, feeling used and slightly soiled. Nevertheless, somewhere between the phone and the kitchen, you somehow manage to convince yourself that allowing yourself to be exploited by people well able to pay you is a noble calling.
Spouse sits at the kitchen table, elbow deep in bank statements and bills, and immediately you have one of those tingly, out-of-body experiences, born of the sudden recollection that tomorrow you promised to look after the kids while Spouse’s rich best friend – who has a lead part in a long-running soap – was going to treat her to lunch at the Ivy: a long looked-forward to treat; a little oasis of glamour in the otherwise endless grey desert of child-centred domesticity.
‘You’ve done what?’
‘Well…’ you begin unsurely, ‘As you said yourself, I can’t really afford to turn anything down at the moment and…’ You find yourself reiterating the lies Mate has just fed to you. They sound even more ridiculous in your own mouth. You talk of the future: although there’s no money this time, who knows what may happen further on down the line? It could lead to more work… I could be in on the ground floor of something huge!
The rest of the day passes in tight-lipped silence and, following the unwritten laws that underpin marriage, you cover yourself in ashes and pay penance. You take out the rubbish, you walk the dog, you rush to change every shit-soiled nappy, you cook supper – her favourite: seared tofu in quinoa with grated raw celeriac – you eschew watching the final episode of Breaking Bad in favour of Strictly Come Dancing and, when it seems you can sink no lower, you find yourself phoning her mother to thank her for the fingerless gloves she sent you for your birthday and allow her to tell you the details of her recent hysterectomy.
You push past the Moss Bross-suited youth and find yourself standing on a thin, water-stained carpet in a dank reception area smelling slightly of damp – hardly the womb-like, leather-clad, luxury experience you were looking forward to. Following the sound of voices, you pass down a small corridor which eventually opens out into a sort of green room, equipped with the latest in used Styrofoam cups and melted plastic spoons. The instant coffee jar is empty because most of it’s in the sugar bowl and the only tea bags on offer are the squeezed-out ones lined up by the kettle. The young cast lounge on a selection of ancient, mismatched furniture of indeterminate colour. The sofa, as specified in the standard non-Equity contract, is mouldy, stained and leaks stuffing like a squashed cockroach. On a small table in front of it is a large foil dish on which are the remains of lunch – your lunch. In a tangle of Clingfilm lie half a tomato, a green smudge of mustard and cress, a dollop of egg mayonnaise and half a sausage roll. You search in vain for a familiar face, then feel a slap on the back as someone bellows in your ear,
‘Andy, my old darling, how are you?’
You turn and find yourself staring into the face of a man you hoped you would never see again. Indeed, after the last time you worked together, you told yourself you would rather eat your own liver than repeat the experience. To the list of people one should never work with, just after animals, small children and, of course, amateurs, should be added, The Desperate.
‘Michael,’ you say, attempting to replace your look of horror with something approaching friendliness. You can’t. Your face is beyond your control, like an alien clamped to your head it refuses to obey your commands and draws itself instead into a half-scowl, your lip curling upwards while your eyes narrow beneath knotted brows. You end up looking like a dodgy impersonation of Bert Kwouk.
Michael grabs your arm and pushes you into a corner. ‘So, how are things?’ Without waiting for an answer, Michael leans in, too close, and mutters ‘I haven’t worked for nine months,’ as his fingers crush your forearm, his stale breath brushing your cheek like the stench from a recently-opened tomb. After twenty minutes or so, when Michael draws breath in the middle of a deeply disturbing anecdote about a dresser, a pasty and a tube of KY, you ask if there’s a script. Michael, momentarily wrong footed, pauses long enough for you to free yourself from his iron grip and go off in search of what are known in the business as ‘sides’: the loose leaves of script that are usually provided on these occasions. Your eye lights on a pile of tea- and tomato-stained pages on the table.
As you read, your heart sinks even further – it’s beyond execrable. You consider walking out the door. But you can’t. Mate sometimes does pull you in for the odd paid job, and, despite his unforgivable exploitation of you on this occasion, you want to keep in his good books.
When you look up from the script, Michael catches your eye again, so you hide in the loo.
Twenty minutes later, Mate comes and finds you, asks if you’ve had everything you need, whether you had lunch, if you’ve had a coffee.
‘No,’ you say.
‘Great,’ says Mate. ‘Have you seen the script?’
‘Well…’ you begin.
‘Great,’ says Mate again, ‘I was up all night working on it. I’m rather pleased with it. You’re playing Q – you know the sort of stuff, lots of jargon. It’s just the one scene, with Moneypenny and Bond, should be very funny.’
One scene, you think – how long can that take?
Thankfully – as Michael is likely to argue with anyone who will listen about the interpretation, pace, volume and intensity of every word – your scene is not with him; it is with the evening-suited youth and the blonde ingénue playing Moneypenny.
At last, the cast is assembled around the microphone, scripts in hand.
‘OK,’ says ‘Mate’ over the headphones, or, ‘cans’ as they’re known in the business. ‘I’ll give you a green.’
The green light just under the microphone blinks on and off. Nothing happens. “Moneypenny” has the first line, but remains dumb, frowning intently at the script as if it’s one of Kierkegaard’s knottier propositions.
Mate comes over the cans. ‘Anything wrong?’
You realise what the problem is: “Moneypenny” is not wearing cans. ‘Hang on,’ you say, taking a pair of headphones hanging from the mic stand and passing them to her.
She looks at you as if you’re something stuck to her shoe. ‘Do I have to wear those? They’ll ruin my hair.’
‘Yes, you have to wear them, otherwise the recording engineer won’t be able to communicate with you.’
She grabs them bad-naturedly, placing them deliberately but delicately over her expensively-coiffed hair.
‘Right, can everybody hear me now?’
“Moneypenny” scowls up at Mate beaming through the glass window of the control box. ‘OK, yah.’
Mate gives a thumbs up. ‘Let’s try that again. Green coming.’
The cue light blinks on again. Nothing, again.
‘What’s that little green light for?’
As patiently as rage will allow, you answer: ‘It’s a cue light. When it blinks, you speak.’
‘Oh, right. Yah.’
‘One more time. Green coming.’
The cue light blinks. She speaks. ‘Right, now look here, zero-zero seven…’
Mate’s voice crackles in your ear. ‘Um, sorry, Matilda, it’s “Double-O Seven”.’
‘Well it’s written, zero-zero seven.’
‘Um… yes, I suppose it is, but it’s pronounced, Double-O Seven.’
‘Look I got a 2:1 in Third Century Middle Eastern Ceramics, so I can read. There are three figures here: two noughts and a seven. In my book that’s zero-zero-seven.’
This dents even Mate’s ever-cheerful carapace. ‘Er… Good point, but the thing is, as Double-O Seven is the name he usually goes by, we’re going to stick with that.’
‘The name who usually goes by?’
You stare at her incredulously. Even “Bond” is aghast.
‘Er… Ian Fleming? You know – Goldfinger, From Russia with Love, Dr. No…?’
‘Have you never seen the films?’
‘Is this from a film?’
You can sense Mate’s patience wearing thin. It’s the only enjoyable moment of the day so far.
‘Ah,’ says Mate, ‘It’s like this: Moneypenny is M’s secretary, and-’
‘Yeah, um… er… Andy, you can probably explain better than me…’
‘OK, er, Matilda, is it?’
She stares at you like you’ve just dropped your trousers.
‘It’s like this…’ You explain, as succinctly as possible, the set up, the history, the mores and quirks of a franchise that has been running for nigh-on sixty years, at the end of which she gawps at you incredulously.
‘Sounds like something my grandfather might have watched.’
‘He probably did.’
‘Well how am I supposed to know about it then?’
‘Well, it is common knowledge amongst most people who haven’t spent the past decade studying Persian ceramics.’
‘Assyrian, actually. Are you taking the piss?’
When you finally leave the studio it’s dark. Managing to avoid Michael and his inevitable invitation to go for a drink (you’d be paying), you melt away into the night. Trying as best you can to purge your mind of the memory of the day, you pick up a bottle of Chateau Londis on the way home. In your mind’s eye, Spouse greets you at the door, sees past the wilting offering to the thought behind the gesture and beams her gratitude.
‘Oh, you poor thing,’ she says, ‘Your day sounds awful. Well, don’t worry, Matthew’s asleep, I’ve made a chilli and we can settle down in front of the TV with a film.’
The reality doesn’t live up to expectation. You walk through the front door to World War Three – the baby is screaming, a smell of burning pervades the kitchen and your flowers look even worse in the cold light of disdain. Now, you reckon, is not the moment to tell her that you’ve blown the tenner you were paid on wine and flowers.
Spouse orders you to take charge of the kitchen while she puts the baby to sleep – again; you open the wine and are halfway through the bottle by the time dinner – slightly singed – is ready.
Finally, settling down on the sofa in front of the news, with a steaming bowl of what might have once been minced meat, but now has the consistency of grit, you ask your beloved how her day has been. Compared to your day, she has been through the equivalent of the Anzacs’ landing on Gallipoli. With an attempt at levity, you say, ‘Well, it’s better than working…’ This is not wise.
Dawn slants in through the venetian blinds and worms its way under your eyelids and you wonder, not for the first time, when you last spent the night sleeping on the sofa.
Never again, you promise yourself. From now on I will value myself and my talent and on no condition let myself be exploited by unscrupulous “Mates”.
Happy with your resolve, you roll over and try to move your body into a position where the sofa’s broken spring is not poking you in the back. Then, just as you are drifting back to sleep, the phone rings.
‘Hi, Andy, mate. Look, I feel really bad about asking you this…’
But this time, you tell yourself, things will be different…
… for The London Column.
As a counterweight to David Hoffman’s images of urban protest which we ran last week, here are a few of David’s pictures of a more peaceful London. Peaceful and largely vanished … these photographs have an elegiac quality to them, glimpses of a city that seems almost as remote as the one pictured by Thomson or A.L. Coburn. In any case, they require no further comment from me … D.S.
As part of East London Photomonth, David’s images are on display until the end of this month at a variety of cafes forming the ‘Roman Road Cafe Crawl’. David’s show at Muxima cafe runs until 27th of November. More details here.
Sir Robert Fosset’s Circus. © Tim Marshall 1984.
Joanna Blachnio writes:
Elephants in London have a long history. Tradition has it that Julius Caesar used a war elephant during his invasion of Britannia; he and his forces pitched camp not far from modern-day Bromley, so this un-named animal might be said to be the first pachyderm to impress suburban Londoners. In the 13th century, there was an African elephant amongst the Royal Menagerie which resided at the Tower of London – a gift from Louis IX of France. Plus, there is the elephant at the Elephant and Castle – although that area got its name from an 18th century coaching inn that stood in the vicinity.
One of the most poignant stories in the bestiary of London was that of Chunee, the mad elephant of Covent Garden. This sad creature arrived in Britain from India in 1809 as a theatrical and, later circus, animal, becoming one of the city’s attractions for almost two decades: even Lord Byron took note of his dexterity and good manners. He spent his dotage in the fabled menagerie at Exeter Change in The Strand, increasingly tormented by loneliness (there was no mate to help him while the time away) and a bad tusk. In February 1826, during his weekly parade down the Strand, Chunee rebelled against his captivity and went berserk, trampling one of his keepers in his rage. His temper did not subside and a death sentence was passed. The convict, however, clung on to life with the strength proportional to his body mass – almost seven tons. When they tried poisoning his food, Chunee was having none of that, and would not touch it. A troop of soldiers were sent for, yet even the fusillade from their muskets failed to kill the elephant, whose moans allegedly caused more distress than the sound of gunfire. Finally, one of his keepers ended his agony with a sword.
The elephants in Tim Marshall’s photograph are remote from the romance and pathos surrounding the death of their famous London ancestor. An impassive clown holding the curtain aside for their entrance, they take the stage with the weary docility of ageing pros. Their thick skin seems whitewashed in the glare of the stage lights. The last elephant to take to the ring can probably only sense what we are able to see: how much space there is in his wake.
Tim Marshall writes:
These photographs where taken in Easter 1984. At that time I was a student at Central St Martins School of Art making a life changing decision to stop illustrating with a pen and to start doing it with a camera.
I spent about four days photographing Sir Robert Fosset’s Circus. I remember going to Clapham Common at 8.00 in the morning, and before the circus site was in view hearing tigers roaring and elephants trumpeting, which was very surreal in central London. I photographed the tent being put up and only realized later that, everybody worked as a team and very hard. The tiger trainer helped put up the tent, starlets of the trapeze would, after finishing their acts, sell candy floss. Clowns empted bins. The clown Nelo, was not actually that funny and quite sad. Children would laugh at him rather than with him. He was a clown whose personal life seemed to be in complete disarray. But he wanted to be loved and make people happy.
After the show, I remember that certain pubs had a ‘no travellers‘ policy, so the people from the circus were refused entrance; and in the pubs they did manage to get into, they were only allowed in to the public bar rather than the lounge.
… for The London Column. © Joanna Blachnio, © Tim Marshall, 2012.
Sir Robert Fosset’s Circus. © Tim Marshall 1984.
From The Greatest Show on Earth, director: Cecil B. DeMille, 1952:
BUTTONS’ MOTHER: They’ve been around again, asking questions
BUTTONS: I know Mother. They’ll never find me, behind this nose.
From Pagliacci by Ruggero Leoncavallo, 1892:
Bah! Sei tu forse un uom? Tu se’ Pagliaccio!
(Bah! Are you not a man? You are a clown!)
David Secombe writes:
Clowns always make good subjects for photographers – the ‘tragic’ ones, that is, the sad clowns of popular cliché: gentle misfits of the travelling show, forever on the move, ageing into a fragile future. ‘I am Grock’ – that sort of thing. The quintessential clown photo remains Bruce Davidson’s unforgettable image of a dwarf clown in a bleak field somewhere in America. After Waiting for Godot, this image has become a different sort of cliché, foregrounding a forbiddingly grim-faced little clown against a drab urban wasteland. It’s a clown out of Beckett, a vertically-challenged Pagliacci for a nuclear world.
Tim Marshall’s clowns are a little more nuanced; for a start, they are full-size, but the gentleman who features in three out of the four pictures in this week’s series has impeccably tragic eyes – like a refugee from a silent film, we feel we know this clown’s backstory: the unfaithful wife, the vanished child, the dying mother … but it’s all conjecture, based on our cultural preconceptions and his amazing face. In a theatre or a circus tent we aren’t guaranteed a close look at the performers’ eyes – but in Tim’s portraits this gent becomes an archetype, as timeless and monumental as Nadar’s study of that ur-clown, Debureau, inspiration for the greatest film about the theatre (perhaps the greatest film about anything anywhere) Les Enfants du Paradis. We don’t have to know what this clown was like as a performer, we don’t need to see him working a Bank Holiday crowd (“the smell of wet knickers and oranges”) to decide whether or not he was any good: Tim’s picture immortalises him as one of the greats. He has the look of tragedy all about him.
… for The London Column.