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Sunday, 24 May 2015
Henry V... 12 left...
Thursday, 21 May 2015
Queen of the Kings!
She's the Queen of Kings at the moment - the star of Henry V - Lion of England at The Wheatsheaf Pub in Fitzrovia, London W1. Produced by our theatre company Maverick, and written by our writer Nick Hennegan, we asked Simon Plant to go talk to star, Eleanor Dillon-Reams about being Shakespeare's most famous King.
Eleanor Dillon-Reams.
Henry V is one of Shakespeare’s biggest plays. How come you are the only actor?
The piece has been partly rewritten, edited and chopped up to a short and snappy 75 minute version, but yes there are still 12 characters, all played by one me; it’s definitely a risk but it’s also so exciting, so why not?
How do you fight the Battle of Agincourt on your own in a room above a pub?
With a big heavy sword, shield, and metal breast plate… the rest you’ll have to come and find out for yourself!
Henry V was a man. And Shakespeare’s plays were all written for men. How is it being a woman playing this part?
I've been very aware from day one of even auditioning for the piece that I'd be not only taking on a huge lead role but one that is famous for being played by many of the great MALE actors; Olivier, Brannagh, etc. and required to lead an entire army into battle and to have the authority to command a whole nation. Being a 20 something woman means I'm not necessarily as strong or physically big as any of the previous Henry's that have taken on this solo version of Henry V, and a huge part of the rehearsal process was looking at how to make myself more masculine and my voice deeper - like a man. It's been a real exploration, but ultimately coming to the conclusion that I'm not a man! So rather than desperately trying to emulate one, the piece will inevitably be different because you have a woman playing the role, and that's not a hindrance, it's really bloody exciting!
I adore classical works but usually women, particularly in these classical texts have not only fewer parts within a company but roles such as the wife of... or the maid, why not have them as the dictator, the leader? There are far fewer opportunities for women than men in theatre, not only in performing on the stage but also as writers, directors, stage-management etc. I am incredibly proud to be working with both a female director and female stage manager for this production, and hope that by having a female Henry V it will provoke audiences to question their own expectations of both gender and leadership.
It's already proved to be a hugely exciting and provocative recipe for success with companies such as Smooth Faced Gents, and Phyllida Lloyd's productions of Julius Caesar and Henry IV selling out and receiving rave reviews, so I hope this is the beginning of a wave of exciting changes throughout the industry.
How did you get the part?
I worked with Katie Merritt- (Director of Henry V; Lion of England) briefly whilst training at East 15 and heard she was casting this show and looking for men, so I emailed asking whether she was gender blind casting? She said absolutely and invited me in to audition! Gender blind casting is something I really campaign for and believe women CAN do it just as well as men, so I am no exception to that belief!
Are there any problems starring in a play that has been so successful in the past?
There was undoubtedly the pressure to ‘pull it off’ again, and it’s odd when you’re aware there’s the potential to be directly compared with someone. This version is slightly different in that we’ve added in one of the female characters, and a scene in French! We’ve had audience in who’ve seen it before and we have had glowing feedback from them for this production of the show - so onwards and upwards!
How long have you been acting and how did you get into it?
I've wanted to act ever since I played the very prestigious role of ‘green ball’ in Stanford Infant's production of The Nutcracker at the age of 4! I'm pretty sure I cried the entire performance, then thought yep right there, that does it for me! I trained properly at East 15 Acting School on the BA acting course, and graduated in 2012. Since I graduated I've been fortunate enough to do lots of theatre, ranging from the classics, to dance and physical theatre, to most recently my own new writing at the wonderful Shake it Up! A brilliant new writing night held by Shaky Isles Theatre.
Did you train?
Yes, I did the three year BA Acting course at East 15 Acting School.
Did your parents influence your career choices?
My Dad writes and directs, but I think would have hoped I’d have gone into a career a little more secure! He was a wonderful story teller when my siblings and I were little and I always loved how he’d do all the different voices and make it all come to life. It didn’t take either my Mum or Dad very long to realise this was what I wanted to do, (and was stubborn enough not to give up on it!) They’ve always encouraged each of us to follow our dreams, I’ve been very lucky to have such supportive parents.
What advice would you give to anyone thinking of being an actor?
If there’s anything else you want to do….do that! It’s very difficult and knocks you down and slaps you across the face, but I suppose it’s like an addiction and the hit you get from performing isn’t like anything else in the world! So if you really, really do want it, don’t give up, don’t take no for an answer - just keep swimming!
Why should I come and see ‘Henry V - Lion of England’?
Henry V is never more relevant than at a time of political unrest such as we find ourselves in today, this one man (or woman I should say!), version is fast-paced, thrilling and unlike anything else you’ll see at the theatre at the moment. Plus it’s in the heart of Soho, above a pub… what more could you want?!
Any final thoughts?
See you there!
Henry V - Lion of England runs till the end of June. For further information see www.HenryVPlay.com.
Eleanor Dillon-Reams.
Henry V is one of Shakespeare’s biggest plays. How come you are the only actor?
The piece has been partly rewritten, edited and chopped up to a short and snappy 75 minute version, but yes there are still 12 characters, all played by one me; it’s definitely a risk but it’s also so exciting, so why not?
How do you fight the Battle of Agincourt on your own in a room above a pub?
With a big heavy sword, shield, and metal breast plate… the rest you’ll have to come and find out for yourself!
Henry V was a man. And Shakespeare’s plays were all written for men. How is it being a woman playing this part?
I've been very aware from day one of even auditioning for the piece that I'd be not only taking on a huge lead role but one that is famous for being played by many of the great MALE actors; Olivier, Brannagh, etc. and required to lead an entire army into battle and to have the authority to command a whole nation. Being a 20 something woman means I'm not necessarily as strong or physically big as any of the previous Henry's that have taken on this solo version of Henry V, and a huge part of the rehearsal process was looking at how to make myself more masculine and my voice deeper - like a man. It's been a real exploration, but ultimately coming to the conclusion that I'm not a man! So rather than desperately trying to emulate one, the piece will inevitably be different because you have a woman playing the role, and that's not a hindrance, it's really bloody exciting!
I adore classical works but usually women, particularly in these classical texts have not only fewer parts within a company but roles such as the wife of... or the maid, why not have them as the dictator, the leader? There are far fewer opportunities for women than men in theatre, not only in performing on the stage but also as writers, directors, stage-management etc. I am incredibly proud to be working with both a female director and female stage manager for this production, and hope that by having a female Henry V it will provoke audiences to question their own expectations of both gender and leadership.
It's already proved to be a hugely exciting and provocative recipe for success with companies such as Smooth Faced Gents, and Phyllida Lloyd's productions of Julius Caesar and Henry IV selling out and receiving rave reviews, so I hope this is the beginning of a wave of exciting changes throughout the industry.
How did you get the part?
I worked with Katie Merritt- (Director of Henry V; Lion of England) briefly whilst training at East 15 and heard she was casting this show and looking for men, so I emailed asking whether she was gender blind casting? She said absolutely and invited me in to audition! Gender blind casting is something I really campaign for and believe women CAN do it just as well as men, so I am no exception to that belief!
Are there any problems starring in a play that has been so successful in the past?
There was undoubtedly the pressure to ‘pull it off’ again, and it’s odd when you’re aware there’s the potential to be directly compared with someone. This version is slightly different in that we’ve added in one of the female characters, and a scene in French! We’ve had audience in who’ve seen it before and we have had glowing feedback from them for this production of the show - so onwards and upwards!
How long have you been acting and how did you get into it?
I've wanted to act ever since I played the very prestigious role of ‘green ball’ in Stanford Infant's production of The Nutcracker at the age of 4! I'm pretty sure I cried the entire performance, then thought yep right there, that does it for me! I trained properly at East 15 Acting School on the BA acting course, and graduated in 2012. Since I graduated I've been fortunate enough to do lots of theatre, ranging from the classics, to dance and physical theatre, to most recently my own new writing at the wonderful Shake it Up! A brilliant new writing night held by Shaky Isles Theatre.
Did you train?
Yes, I did the three year BA Acting course at East 15 Acting School.
Did your parents influence your career choices?
My Dad writes and directs, but I think would have hoped I’d have gone into a career a little more secure! He was a wonderful story teller when my siblings and I were little and I always loved how he’d do all the different voices and make it all come to life. It didn’t take either my Mum or Dad very long to realise this was what I wanted to do, (and was stubborn enough not to give up on it!) They’ve always encouraged each of us to follow our dreams, I’ve been very lucky to have such supportive parents.
What advice would you give to anyone thinking of being an actor?
If there’s anything else you want to do….do that! It’s very difficult and knocks you down and slaps you across the face, but I suppose it’s like an addiction and the hit you get from performing isn’t like anything else in the world! So if you really, really do want it, don’t give up, don’t take no for an answer - just keep swimming!
Why should I come and see ‘Henry V - Lion of England’?
Henry V is never more relevant than at a time of political unrest such as we find ourselves in today, this one man (or woman I should say!), version is fast-paced, thrilling and unlike anything else you’ll see at the theatre at the moment. Plus it’s in the heart of Soho, above a pub… what more could you want?!
Any final thoughts?
See you there!
Henry V - Lion of England runs till the end of June. For further information see www.HenryVPlay.com.
Location:Dale Street,London,United Kingdom
Thursday, 7 May 2015
Dylan Thomas Day!
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Sunday, 12 April 2015
OLIVIER AWARDS 2015 WITH MASTERCARD WINNERS
This just in....
- The Young Vic’s A View From The Bridge takes home Best Revival, Best Actor for Mark Strong and Best Director for Ivo Van Hove.
- Hampstead Theatre’s West End transfer of Sunny Afternoon wins the most awards for any single production and is crowned MasterCard Best New Musical
- Dame Angela Lansbury receives her first Olivier for Best Actress in a Supporting Role for Blithe Spirit and Penelope Wilton is named Best Actress for Taken At Midnight
- Mike Bartlett takes home two prizes – Virgin Atlantic Best New Play, King Charles III, and Outstanding Achievement in an Affiliate Theatre, Bull
- Dame Judi Dench presented Kevin Spacey with his Special Award before he took to the stage for a special musical performance with Beverley Knight
- Akram Khan performs to mark Sylvie Guillem’s Special Award, which she received from Sir Anthony Dowell
- Wicked wins the hotly contested This Morning Audience Award
The winners of the Olivier Awards 2015 with MasterCard, the most prestigious event in the UK theatrical calendar, were announced tonight (Sunday 12 April 2015) in front of a packed audience at the glamorous ceremony held at London’s Royal Opera House. The full list is available below and online at www.olivierawards.com
Hosted by acclaimed actor and comedian Lenny Henry, the ceremony featured a showstopping finale with Kevin Spacey and Beverley Knight performing a one-off version of Bridge Over Troubled Water with the full Oliviers Orchestra and the 90-strong Arts Educational Choir under Musical Director Larry Blank.
Hampstead Theatre and the Young Vic are the big winners of the night, winning four awards each. Hampstead Theatre’s hugely successful West End transfer Sunny Afternoonwas crowned MasterCard Best New Musical and received acting nods for its stars John Dagleish and George Maguire (Best Actor in a Musical and Best Actor in a Supporting Role in a Musical) who play brothers Ray and Dave Davies in The Kinks musical. Legendary musician Ray Davies had further cause to celebrate when he recieved the Autograph Sound Award for Outstanding Achievement in Music for the Sunny Afternoon score.
The Young Vic’s wins include the prestigious Best Revival Award for A View From The Bridge, for which Mark Strong won Best Actor and Ivo Van Hove was named Best Director. Mike Bartlett’s Bull, which was staged at The Maria at the Young Vic, won the Outstanding Achievement in an Affiliate Theatre Award.
Bartlett left the ceremony tonight with a second 2015 Olivier Award, the Virgin Atlantic Best New Play prize for his modern history play King Charles III, which enjoyed sell out runs at the Almeida Theatre and Wyndham’s Theatre. This brings the British playwright’s number of Olivier Awards up to three, having previously won Outstanding Achievement in an Affiliate Theatre in 2010 for the play Cock.
Nathaniel Parker won Best Actor in a Supporting Role for his portrayal of King Henry VIII in Wolf Hall and Bring Up The Bodies at the Aldwych Theatre. Christopher Oram’s period dress for the Royal Shakespeare Company production, which has just opened on Broadway, also took home Best Costume Design.
The Donmar Warehouse’s sell out production of City Of Angels won the much coveted Magic Radio Best Musical Revival prize, as well as the White Light Award for Best Lighting Design which went to Howard Harrison.
Dame Angela Lansbury received her first ever Olivier Award for Best Actress in a Supporting Role. The role of Madame Arcati in Blithe Spirit marked the multi-Tony Award winner’s return to the London stage after an absence of nearly 40 years. Penelope Wilton was crowned Best Actress for her performance in Taken At Midnight, beating stiff competition from Gillian Anderson, Kristin Scott Thomas and Imelda Staunton.
Beautiful – The Carole King Musical saw Katie Brayben and Lorna Want win the awards for Best Actress in a Musical and Best Actress in a Supporting Role in a Musical for their on stage portrayals of songwriters Carole King and Cynthia Weil respectively.
Memphis The Musical was awarded two Oliviers in the categories for Best Theatre Choreographer and Best Sound Design, which went to Sergio Trujillo and Gareth Owen. The XL Video Award for Best Set Design was given to multi-Olivier winning designer Es Devlin for The Nether at the Duke of York’s Theatre.
The Play That Goes Wrong, which originally opened as a one-act show at the Old Red Lion Theatre before transferring to Trafalgar Studios and ultimately the Duchess Theatre in the West End, was awarded Best New Comedy. La Soirée, which describes itself as a cocktail of cabaret, new burlesque and circus sideshow, received the Best Entertainment & Family Award for its run at the La Soirée Spiegeltent.
In the dance categories, Best New Dance Production was shared by 32 Rue Vandenbrandenby Peeping Tom at the Barbican Theatre and Mats Ek’s Juliet And Romeo by the Royal Swedish Ballet at Sadler’s Wells. The award for Oustanding Achievement in Dance went to Crystal Pite for her choreography in the productions of The Associates – A Picture Of You Falling, The Tempest Replica and Polaris also at Sadler’s Wells.
Richard Jones was recognised for his direction of The Girl Of The Golden West, The Mastersingers Of Nuremberg and Rodelinda at the London Coliseum in the Outstanding Achievement in Opera category. English National Opera’s The Mastersingers Of Nuremberg also picked up the award for Best New Opera Production.
This year’s Special Award winners were the groundbreaking classical and contemporary dancer Sylvie Guillem, who was presented her award by Sir Anthony Dowell, and Kevin Spacey, who recieved his award from Dame Judi Dench in recognition of his tenure as Artistic Director at The Old Vic Theatre and contribution to the London stage.
The only publicly voted prize, the This Morning Audience Award, was won by Wicked.
On the night the live Oliviers Orchestra performed with orchestrations and original music by conducter Larry Blank, and further orchestrations by Mark Cumberland.
There were also special performances from all the nominated productions in both the MasterCard Best New Musical and Magic Radio Best Musical Revival categories, including performances by Nicole Scherzinger, dancer Akram Khan and a number from Here Lies Love by leading lady Natalie Mendoza and Talking Heads’ David Byrne, who co-created the show with Fatboy Slim.
The evening’s show also included a live link to a free public Olivier Awards celebration on the ITV stage in Covent Garden Piazza hosted by Alison Hammond and West End leading man Michael Xavier, where hundreds of theatre-lovers enjoyed West End performances and a live big screen relay of the ceremony.
The awards are broadcast via extensive highlights on ITV from 22:15 and then available on ITV Player. The Olivier Awards 2015 voiceover is by Julie Walters.
To keep up with latest Olivier Awards news and engage with the awards online visit www.olivierawards.com or social channels using #oliviers:
Thursday, 9 April 2015
Check Out The Trailer For Junkie Safecracking Indie Crime Flick IN THE BLOOD! | ScreenRelish
And this just in! Written by my mate Andy Bloom! Check Out The Trailer For Junkie Safecracking Indie Crime Flick IN THE BLOOD! | ScreenRelish
Who will be the next Dr Who...
...sorry... Henry V!
It only occurred to me whilst talking to a former Dr Who actor, that for our Henry V we will be recruiting the fifth actor to reincarnate the role since we first performed it back in 1992 - a bit like the famous BBC series does!
Saturday, 7 March 2015
Neville Owen - a Boy's Man! RIP.
Forgive my indulgence. This post isn't really anything directly to do with The London Literary Pub Crawl, other than the fact I wrote the tour and the journal/diary I wrote in 1997 (How To Make a Crisis Out Of A Drama) is being released by Maverick Theatre to celebrate its 21st Birthday. Although booze plays a part, because this is about the first time I got drunk! And Neville Owen died last month and I went to his funeral, so I wanted to mark his passing. I wrote this in 1997 and I hope it might serve as a very small tribute to Nev and the lovely Owen family in Birmingham, England. And Dougie Stone. But read on...
FROM THE BOOK.
It is in one way fortunate that life tends to develop gradually. If anyone had told me as a kid on our council estate in Hollybank Road that in years to come I would be working with my current heroes, I think I would have fallen over!
FROM THE BOOK.It is in one way fortunate that life tends to develop gradually. If anyone had told me as a kid on our council estate in Hollybank Road that in years to come I would be working with my current heroes, I think I would have fallen over!
And talking of falling over… one New Years Eve at the Owen’s house, I had a huge fall over! Jean and Nev Owen lived in Miall Road, Hall Green, Birmingham. They had a son, Pete, who was a similar age and was a mate of my brother Bob. They were all involved in the Scouts and the Owens had LEGENDARY New Years Eve parties for years. Nev and Jean were the sort of adults every kid should be exposed to and they remain one of the reasons I still have such a soft spot for the Scout Association. Nev and Jean seemed hugely old to me, as all adults do to kids, but I guess they were in their forties. I didn’t see that much of them, but I liked Nev and his whole demeanour. He was safe and wise. He had a secure, contained minimal way; a constant pipe and tobacco burned jumper who never interfered but was a boy’s man with a ready ear and a practical approach. And his lovely wife Jean: flame haired, kindly, intelligent, relentlessly positive, with a constant smile and cup a of tea.
Their parties were legendary because of those they invited. There was a real mix of ages, types and backgrounds. I was quite upset when the Owens eventually stopped having them. In fact, as I'm on the Owen's, I might as well regale you with the tale of how I first got accidentally drunk! And fell over. Honest, it was an accident! Next door to the Owen's lived the Stones. They were a really nice family and their youngest lad, Dougie, was a couple of years younger than me. I'd known him since he was about 10. We were never very close mates, because at that age two years makes a difference. It would have done my 12 year old cool no good at all to be seen hanging out with a ten year old! But I liked Doug. He was a bit of a lad and often got into ‘scrapes’! But he was good natured, with a ready smile and was always prepared to do anything for a laugh - and often got into trouble with the 'grown-ups' for his pranks. He was blonde and athletic looking and as a small child had some trouble with his knee joints, which left him with a slight swagger when he walked. The swagger - a slight one, mind - matched his personality perfectly. I also had a kiddie crush on his older sister, Sue, who at the time was going out with Pete Owen. I would gaze on her from afar, or quite near, actually, as she tended to hang around scouty activities, nursing my terrible secret. Eventually I told Dougie. He was the only person I ever unburdened my secret to. (Until now! Sorry Sue. But if you read this, I just want you to know I recovered okay!) I don't think I was the only older friend who had a crush on his sister, but Dougie was very cool about the whole affair. I think he was quite proud his sister was attracting such unrequited and pure attention from a boy older than himself, and at the same time amused that anyone could be attracted to anything as 'sexless' as a sister! I used to quiz him about her ... what she liked and disliked, what TV programmes she watched. All innocent stuff that tends to become hugely important when nature decides it's time to turn a boy into a man and throws a few hormones into the system to help things along! During our occasional talks, usually about Sue, but sometimes about fishing as well, (for some reason that now escapes me!) I was struck how good a listener and conversationalist Dougie was. It was a side he didn't show too often, especially with me being older. If he was still here today, I get the feeling we would have stayed in touch and maybe been friends, as adulthood eroded the difference in our ages. However, I'll never know now. But back to New Years Eve.
Dougie's dad, Dennis, was always out for a good time. I think I was 13 or 14 when Dennis introduced the idea of 'first footing'. A Scottish tradition, I think, but I had never heard of it. It involved someone dark rushing in the front door holding a piece of coal, shouting, "New Year's in", knocking back the best drink in the house in one gulp, then leaving via the back door. It was supposed to bring good luck to the household for the next 12 months, but I reckon it was a clever rumour started by dark people in Scotland, who obviously never have to buy a drink on December 31st! Whether this is the correct way of doing it, I have no idea, but I was selected to be the first footer because of my dark hair. We also had a bit of trouble with the coal, so a bit of coke was found instead. I duly did my first footing at the Owens, knocking back a can of Shandy, which was quite enough for me at the time. Then Dennis, full of liquid bon homie, suggested that Dougie should take me next door to their house so I could do the same and ensure 12 good months for the Stone household. So the two of us went next door to the empty house. Doug opened his front door and I rushed in and delivered my lines like an old pro. Then we hit a problem. What was the best drink in the house? Me and Dougie looked at each other, perplexed.
"Hang on", said Doug, "I'll go and ask my Dad."
He ran out and returned a few moments later.
"Dad said look in the bar and help ourselves. Anything will do."
We looked at the corner bar in the front room. (Yep. It was the 1970’s!)
"Have you got any shandy, Doug?" I asked.
"No. Dad said there isn't any shandy but we should find something
else."
"What about a coke then? It's not quite right, but I'm sure the luck will still work."
We went over to the bar and rummaged for a coke. There was none.
"Dad said we'd find something," said Doug. "He said all these drinks were the best type."
There was an edge of desperation creeping into Doug's voice. Obviously I didn't want to upset their luck, so we started undoing and uncorking the bottles positioned at the top of the bar. We smelt each one in turn, generally turning our noses up at the smell.
"What about a glass of milk or something, Doug."
Dougie looked horrified.
"No, it has to be the best drink in the house. Milk is no good. It won't work."
We persevered until finally we found something with a foreign name that didn't smell too bad. In fact it smelt quite nice. It was sweet. I took a swig from the bottle (Mom wasn't around!) and it tasted really good.
"This is okay, Doug. We'll use this one."
"Right," said Dougie. "You go out and do your bit again and I'll pour the drink."
So out I went, knocked on the door, ran in again, shouted "New Year's in" and took a glass out of Dougie's hand. It was a half pint glass, full of dark brown liquid.
"Blimey, Doug, a half pint's a bit much isn't it?"
"That's what Aunty Jean gave you next door."
"Yes", I protested, "but that was shandy."
"We've got to do it the same to get the good luck. Go on, down in one. It can't be too strong anyway. It tastes like pop."
"Yeah, true", I said, and promptly gulped down the half pint. "Okay", said Dougie, "now out the back door."
I ran to the back door and out into the night. Dougie locked up after me.
As I walked round the side of the house to wait for Dougie before we returned to the Owen’s party, I noticed the cold air was having a strange effect on me. There was a slight buzzing in my ears. Then, uncannily, my legs seemed to feel a little, well, out of control. I reached Dougie's front door just as he was coming out.
"Come on then, Nick. That's the good luck bit done. We'll get back to the party."
He bounded off and I tried to follow. But for some strange reason my legs didn't seem to want to do what I wanted them to. And I noticed that Dougie seemed to be moving in two directions at the same time. Or were there two Dougies? This was weird. I called to Dougie's retreating back.
"Doug. H ... hang on a minute."
Dougie ran back over to me.
"What is it?"
"I don't know, Doug. I feel a bit strange." At which point, my legs gave way completely and I fell onto him.
"Bloody 'ell Nick, what's wrong?" Dougie grunted as he tried to hold my weight.
"I ... I don't know. I feel all strange and light and buzzy."
"Buzzy? Eh? Buzzy? Oh, blimey. Hang on, I'll get me dad."
With not a little effort Dougie lowered me gently to the ground and ran off next door to the Owens. I sat there, propped up against the Stone's front door. I could feel the cold tarmac through my jeans, but apart from that and the buzzing in my ears, I didn't feel too bad. I decided it was time to whistle a song, but for some reason my lips wouldn't make the right shape. What happened after that is a bit of a blur, but I do remember Dennis Stone coming back with my Dad, Nev Owen and Dennis Stone. And my Dad being a little concerned that his youngest son seemed unable to stand. I think the adults quite quickly realised what had happened, because I distinctly remember being carried into the Stone's house and Dougie pointing at a bottle and saying,
"That bottle. That was the one."
Dennis looked at Dougie.
"Quantro! You gave the boy a half pint of Quantro?"
I don't remember Dougie's answer, but Nev took his pipe out of his mouth, laughed and shook his head. I decided at this point the whole affair was hilarious too and started laughing uncontrollably. Everyone looked at me.
“Dad, Nev,” I slurred, "Guess what Dougie did. He Quantro'd me! I've been Quantro'd!"
I tried to rise, but the legs were still doing their own thing. My laughter, however, was infectious, and soon we were all at it. Dad leaned down.
"Nick. You idiot."
More laughter.
Dad helped me to my feet and led me, staggering, back to the Owens. I think I ruined Mom and Dad's night somewhat, but I can't say I remember. Nev and Jean Owen were, as always, perfect hosts. And strangely, I don't remember being physically sick, although I spent a long time in bed the following day... or two! There were no recriminations, though. Neither Dougie or I got into trouble over it. Like I say, it was an accident and a more innocent age.
Very sadly this story does not have a very happy ending though, due to another accident. A few years later, when he was 17, Dougie had an argument with a girlfriend. He jumped on a motorbike and in something of a rage, lost control over a bridge in Earlswood and crashed. He was killed instantly. 17 years old. The church for his funeral was packed to capacity. There were, literally, coach loads of people who came to pay their last respects to Doug. I came up from London for it. It was the first time since I was a kid that I wept in public. A completely unexpected, immense wave of violent sorrow suddenly overtook me and I couldn't control myself. But I didn't have to worry. I wasn't the only adult crying. I mentioned Dougie to my brother, Bob and his wife, Mel, last night. Dougie died at least 15 years ago, but such was his personality people still feel his loss. Mel dropped something of a bombshell, bearing in mind what I've just told you. I had forgotten, but Mel told me that Dougie had been at a party before his fatal accident. It was a New Year's Eve Party. On the 7th anniversary of me collapsing into Dougie's arms after our first footing episode, Dougie had died. Mel told me this last night and I said nothing, but it had a horrible resonance. The only thing I can say is that now you know a bit about Dougie Stone. I'm glad you do. He will be forever a good kid.
But that was all to come. The year before, while Dougie was still enjoying the New Years Eve party at the Owen's and a full 12 months before he was to get me drunk, I was standing outside the house while the party raged inside. I looked up at the sky. I remember it very well. It was a clear night and the stars looked beautiful. I was 13 and I made a pledge with myself that I must do the same thing again, stand outside and look at the stars on New Years Eve, when I was 40, God willing I was still here. 40 seemed so remote - a whole lifetime away and full of infinite possibilities and excitement. The 40 year old me should remember the 13 year old me. Remember the boy I was. I was fascinated at the thought of being so old! What would I be doing? Where would I be? I was really going to enjoy life. I was looking forward to whatever fortune would throw at me. It was a good, clear, pure feeling. About 9 months later fortune would throw an incident at me that sullied the pureness of this feeling for many years to come, but I don't feel I can say any more about that here. Some things are best forgotten. All I will say is that at 13 I promised my 13 year old self that on the New Years Eve of my 40th year I would try and remember how things were then - how I was feeling. It is rather spooky and purely coincidental that A Ghost of A Chance has prompted me to write this journal now. Had it not been for this, I may well have forgotten my 13 year old pledge. The whole Ghost process, writing a part for a boy, has been a nostalgia trip for me, a process of looking back and, on occasion, remembering the boy I was. Well, I’m now 39. So, I've got a date with myself this New Years Eve!
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