Tag Archives: Janie Dee

Ms Janie Dee reads Dr Watson and Mrs Gregson

The event at St Bart’s pathology Museum went well – a crazy French silent film featuring Sherlock and Watson, by the charming Celine Terranova (who turned up in a lovely steampunk bustle dress) followed by me waffling about Watson until I could show the new trailer/extract for the book. There is still a slight volume adjustment to be made around the time the sodium citrate appears, but I think you’ll agree Janie Dee does a tremendous job. Thanks also to Sue Light for (most of) the photographs, to Bella Ryan for editing/assembling and to Carla Valentine for organising a night for Dr Watson to shine.

The above is an edited extract from this section of Dead Man’s Land:

“Careful with the solution bottles, Staff Nurse Jennings,’ Watson warned, as she unwrapped a glass cylinder from its cocoon of corrugated cardboard and newspaper. ‘That’s our secret ingredient. Hand it here, please.’
The flap of the tent snapped back with a crack like a whiplash. Standing in the opening was the Sister-in-Charge, her face almost as crimson as the red cape which proclaimed her a full member of Queen Alexandra’s Royal Army Nursing Corps. The sound of the German guns was momentarily lost beneath her impressive bellow. ‘Major Watson!’
Watson carefully laid down the precious jar of sodium citrate solution on the tabletop before he turned to face her. ‘Sister? How may I be of assistance?’
‘What is the meaning of this?’ She pulled back the canvas further to reveal his two members of the Voluntary Aid Detachment each holding an Empire medical kit. ‘Experience dictates that travelling with one medical kit in a war situation is somewhat risky, sister,’ Watson explained patiently. ‘I always pack a spare.’
Now the colour on her cheeks was a perfect match for the cape. ‘I am not referring to your travelling preferences, Major,’ she almost snarled. ‘You have brought VADs into my Casualty Clearing Station. VADs!’
She made it sound as if Voluntary Aid Detachment nurses were some kind of vermin ‘When I was at the hospital in Calais,’ Watson said calmly, ‘I requested some assistance during this tour of the clearing stations and field ambulances. The MO suggested Nurses Gregson and-’
‘They are not nurses, Major Watson, as you well know. Not qualified nurses. They are auxiliaries. Orderlies. And the Matron-in-Chief herself has forbidden VADs to work this far forward-’
There came another explosion, short and sharp, that made everyone’s heads turn to the source. It had come from Mrs Gregson, the older of the VADs. Her companion, Miss Pippery, a tiny thing who looked to be barely out of her teens, took a small step backwards, as if retreating from a ticking bomb.
Mrs Gregson bent at the waist, put down the medical chest, and stepped over it, so that she stood eye to eye with the Sister. Miss Pippery lowered her own case but stayed firmly behind it, as if it could act as a barricade. She yanked out a tiny gold rosary from beneath her collar and kissed it, briefly, in prayer, before tucking it away once more.
Mrs Gregson, Watson estimated, was thirty or thereabouts, with striking green eyes and, beneath the white VAD headdress, a crown of fiery red hair. The Sister was probably two decades older, pipe-cleaner thin with a mouth pinched by years of keeping her charges in line. Now the opening was reduced further, to a razor cut in a rather sallow face.
When Mrs Gregson spoke, it was with a quiet but stinging force. ‘Sister, I may not have your qualifications, but I have been out here for more than two years. I was running first-aid stations when the worst the men faced was a turned ankle from trying to march in hobnail boots on French and Belgian cobblestones. I drove for McMurdo’s Flying Ambulance Brigade at Mons. Perhaps you have heard of it? I have treated trench foot, venereal disease, lice infestations and lanced boils in men’s buttocks the size of macaroons. I have stuffed men’s entrails back in place and held the hands of boys who cried for their mothers, such was their pain, and of grown men weeping in fear at the thought of going back up the line. I have watched men drown in their own fluids from gas, carried men’s mangled arms and legs to the lime pit, told a private he will never see again, spent weeks wondering if I will ever smell anything in my nostrils other than the stench of gas gangrene. I have shown pretty fiancées what German flame-throwers have done to their future husbands’ faces. Then had to deliver the letters that tell the disfigured soldiers that they have lost those sweethearts. I have seen enough pus to last me a lifetime, Sister, and my hands are likely ruined forever from all the scrubbings with carbolic and eusol because, of course, only a Sister can wear rubber gloves and I do believe, no matter what your dear Matron-in-Chief thinks, that I have earned the right to go where my betters think I am needed in this war and I also believe that Major Watson’s new method of blood transfusion will save the lives of many who have to this point died for want of fluid and warmth.’ She finally took a breath. ‘Of course, I am not a nurse, nor would I claim to be. I am a VAD and proud of it.’
Mrs Gregson’s short speech never increased in volume throughout its course, but somehow, like a great flywheel pressed into motion, gathered power and momentum as it went. Watson, about to object that is wasn’t strictly speaking his new method of blood transfusion, decided to stay out of the contest. It would be like trying to separate two Siamese fighting fish.
The guns seemed even louder and much closer in the brittle silence that descended on the tent.
Sister took her time composing her reply. The heightened colour in her cheeks faded, but she twisted the piece of paper she held in her hands as if she were wringing Mrs Gregson’s neck. ‘I did not intend to impugn the service you have given. But there are few here who haven’t performed the same tasks. Isn’t that right, Staff Nurse Jennings?’
‘Yes, Sister,’ she agreed softly, eyes downcast. ‘Although I can’t drive-’
But Sister had turned her attention back to the VADs. ‘You will assist Major Watson, of course, in his important work, and I assume move on with him once the technique for this wonder treatment has been demonstrated. But I do not want you on the re-suss, pre-op or evacuation wards. Or on the officers’ wards in The Big House. It will only confuse the men. I don’t want them to think they are getting..’ She paused for moment and actually smiled before delivering the blow ‘.. second-rate care.”

For Those Listening To Radio 3 @ 7.30pm Tonight

These are the notes the audience at Snape will have as a guide to the piece’s structure. It is based on The Jolly Corner by Henry James, but is set on a Transatlantic ship, New York in the late ’40s and Soho present day. Spot the Benjamin Britten references (because there’s none in the music).

THAT OBSCURE HURT.

Music by Guy Barker.

PART ONE.  Prologue: An Atlantic Overture.

Early 1950s. The English musicians of Geraldo’s Navy arrive at the docks in awe at the size of their ship, the SS Lucretia. As they board the ship, the captain and the crew bark at the disorientated new hands, sending them this way and that, looking for their cabins, their instruments, their gig and then, as they set sail into rough seas, the newcomers try unsuccessfully to find their sea legs. Eventually, they locate their berths and settle into work and, over the sounds of the ocean, we hear the strains of the dance band and we find ourselves momentarily in the Verandah Ballroom before the skyline of Manhattan makes in appearance. The excited musicians drop their instruments and scuttle ashore. They take in the sights, sounds and throbbing energy of the city – exciting and intimidating in equal measure. They find themselves on 52nd St.

PART TWO. Prince At the Pagoda.

Early 1950s. The jazz club on 52nd St where the musicians listen in rapture to host Harry Prince as the band plays a roaring be-bop piece that incorporates passages from the solos of the great modern jazz maters of that era: Bud Powell, Fats Navarro and even a four-bar quote from Dizzy Gillespie’s “Ow”.

PART THREE. In Darkness.

Present Day. Spencer Bryden is watching CCTV from a remote location and sees the ‘ghost’ haunting his club (Gordie’s or AMJG) in Soho, London. An account of the encounter is read out by Jennifer Muldoon, an investigator into psychic phenomena.

PART FOUR. Opus 50/ A Time There Is

Present Day. Spencer, still reeling from the images he saw on the CCTV, visits the Soho jazz club (Gordie’s, above) he inherited from his father, which is in its final week of operation before its proposed sale.  Harry Prince Jr – the son of the man Spencer’s father saw in NYC all those years ago – sings a song about the passage of time.

PART FIVE. Powder Monkey.

1960s flashback. Harry Prince Jr, with a little help from Alice Staverton, the club manager, evokes the sounds of the club in its sixties heyday.

PART SIX. Notturno.

Spencer is alone in the club after hours, the room silent and deserted, the tables with empty glasses, the walls slick with 60 years of smoke and sweat and the echo of all the music that has been played and is about to disappear forever.

PART SEVEN. A Kind of Ghost.

Spencer becomes aware he is not alone. He glimpses a figure. He chases him backstage, terrified but determined to confront the spectre. But the ghost doesn’t want to be caught – it is elusive and playful, giggling, darting and dancing (in one instance to a tango) through the club, shredding Spencer’s already taut nerves, until, finally, an exhausted Spencer manages to corner the phantom. When he finally does confront the ‘ghost’, he realises he is looking at a different version of himself. This was the terrifying image he saw on the CCTV.  This is the man he would have been, had he not left London for exile. But this ghost is suffering – he has cancer, is constantly chewing nicotine gum to suppress the urge for the cigarettes that have killed him. He has come to warn Spencer. And enlighten him.

PART EIGHT. I Hid My Love.

Spencer reels yet again at the revelations from his other self (musically, the brass chorale in Opus 50 reappears, but this time played on the strings). The ghost departs and Spencer discovers cans of old film from the days when his father was alive. He plays the super-8 movies and sings a song about the love of his father (and Alice), and how he denied it. This piece is designed to echo ‘the sounds of the era of ‘The Great American Songbook’.

PART NINE. Alice’s Gift.

Alice finds Spencer passed out in the club. She wakes him. He reveals what the ghost told him- that Alice has paid off the gangsters who had been threatening him and that she has saved the club – if he wants to keep it, he can. Alice makes a speech explaining herself and finally declaring her love for Spencer. He realises he has been a fool – he can have the club, and Alice too. With thanks to Henry James and his friend Edith Wharton.

PART TEN. Floods of Noise.

The spirits of every musician who has ever played the club celebrates including a reprise of Powder Monkey.

KURT ELLING, BENJAMIN BRITTEN AND GERALDO’S NAVY

An extract from the programme notes for That Obscure Hurt, a new piece by Guy Barker:

“Guy Barker and Robert Ryan first came to Snape Maltings in 2008 for a performance of dZf, their reimagining of the story of The Magic Flute. As a result of that performance, the Aldeburgh Music Festival asked whether Guy would be interested in creating something similar to celebrate Benjamin Britten’s centenary. Guy accepted and then asked Ryan if he could again help. ‘I am a long term admirer of Benjamin Britten’s music,’ says Guy, ‘and I knew from the very beginning this had to be a very different approach from the one we used for dZf.’
In the end they went back to the title of the concert series ‘Inspired By Britten’ and decided to look at where Britten had turned to for inspiration of his own work and Ryan began to consider the two operas based on Henry James ghost stories – The Turn of the Screw and Owen Wingrave and discovered another of the tales, The Jolly Corner, which had all the elements they required to make a start. Although Britten never tackled a third James story, they felt as if they were tapping into the same source. However, the jazz element of the music had to grow organically from the setting of the story (Barker was insistent that none of Britten’s music be touched or referenced).

So, the story was relocated from an apartment block in New York to a jazz club in Soho. There is a prologue, about the dance bands who worked on the transatlantic liners, crossing to New York, which gave them a thematic link to Britten’s own crossing to America. The Cunard dance bands (“Geraldo’s Navy”) are legendary in the jazz world – musicians such as Ronnie Scott, John Dankworth and Stan Tracey would sign on with the sole intention of rushing ashore in NYC to hear the new music being played in the clubs of 52nd St and the Village by modern jazz giants such as Charlie Parker, Dizzy Gillespie and Bud Powell.

Unknown When originally conceived by Ryan, there was to be no spoken narration or songs in the piece. As things developed, Barker began hearing songs and while experimenting with an idea for the prologue set in NYC, all he could hear in his head was Kurt Elling’s voice. And so Kurt was approached to play Harry Prince, singer at The Pagoda nightclub, and agreed and the piece took another turn. It subsequently became apparent that a different form of narrative was required in addition to Kurt.

With dZf they had an American actor but the writers wanted to go a different way this time by using with an English actress. Barker had seen Janie Dee perform the works of Pinter and Ayckbourn and knew she had the voice they needed. The final piece features these two great performers plus the BBC Concert Orchestra and the Guy Barker Jazz Orchestra – a total of 77 individuals on stage.”

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So just to reiterate – we have managed to get the great Kurt Elling, who recently sold out Ronnie Scott’s for eight consecutive shows, to come to the concert hall at Snape Maltings deep in rural Suffolk and sing my “lyrics” and the equally wonderful Janie Dee to do the narration. As I said to Guy: ‘You always said Kurt could sing the phonebook and make it entertaining.. we’re about to find out if that’s true.’

* That Obscure Hurt premieres as part of Aldeburgh Festival at Snape Maltings on Wednesday June 12th. Further details: 01728-68710, http://www.aldeburgh.co.uk/events/guy-barker-obscure-hurt. It will also be broadcast live on Radio 3.