Long-lived memories

I've posted before about my mum being a costumier - and the odd things she's made over the years. For a while she worked for a publisher producing costumes to go with book tours; these included Raymond Briggs' Snowman, Fungus the Bogeyman, Peter Rabbit and Dilly the Dinosaur to name but a few. She also made a costume for Postman Pat and a buffalo (took two people for that costume) for a carpet company. She made ballet costumes, hats for Paul Revere bar (well, the girls didn't wear much else), and of course multiple theatrical millinery for ballet, opera, muscials (the crown of thorns for Jesus Christ Super Star), a crocodile for Peter Pan (there where wheels underneath so the costume wearer could scuttle about on stage) and something for Mickey Dolenz (who I met), but I can't remember what.

Thanks to the BBC

 She is now 92 and trying to record her days at Stratford with Gielgud and Leigh, and the many other individuals who became famous, is a challenge. Her memory is is - of course - not as good as it was, but certain things will trigger memories. And sometimes those memories will live on and pop up where you least expect. For example, I remembered Dilly the Dinosaur as soon as I saw him - on BBC's QI programme last week. I will admit to watching on playback, not live, because my mother let me know excitedly that she'd seen herself on TV. There was Gyles Brandreth and Sally, with Dilly the Dinosaur (head model).

 

Sally enjoying the company of
Freda the Royal Python

Sally used to sculpt the model for the heads of her creations in clay, then make papier mache casts. Sometimes they'd be reinforced or made of a stuff called samco (which needed setting with acetone). She would work with pearl glue, this weird red moulding material for plaster casting, foam rubber, calico,  buckram... all those materials whose names are familiar to me still. She would also make face masks in latex - for example in the 'Many Faces of Steed' she made a plaster cast of Patrick McNee's face and then created a number of replicas for use in the show (one of whom was my dad). She also made some hats for Madame Tussaud's, including Raquel Welch's white leather stetson and King Henry VIII's jewelled hat. The more I write, the more I remember. 

But back to plaster casting faces - I distinctly remember a camp bed in the kitchen with some chap lying on it, with straws up his nose and a face covered in plaster. Of course I have no idea who it was under there. For many years we also had a plaster cast of Marty Feldman's nose - I can't remember why, but I do remember going to Queens Park Rangers' stadium and meeting him when I was very small - and being just a little bit scared!

At 92 my mum is still going to art classes and life drawing even though she has macular degeneration and her sight is failing. She has multiple health issues of course, but she goes shopping in her motorised buggy, lives independently and if very often out when I call because she is so busy. 

Think of how much is online these days - those photos on social media, pictures and documents scanned and shared. The mountain of information on geneaology sites, and of course the fantastic archives of libraries and press media (a search of the Barnet Press will reveal more for Sally I'm sure). You never know what will pop up where, and whether it will be something to smile about (as with Sally, Gyles and Dilly), or something to make you cringe. 

Liked this? Try...

• Dr Who
• Danny la Rue
• Judi Dench

***Update! I emailed Gyles via his website saying how happy Sally was at seeing that photo, and the gentleman replied wishing her happy birthday and saying 'she's the best'. That's one long-lasting impression you made, Sally!***

A midwinter night’s drive

My mother has been working on hats for the Rose Theatre’s production of Midsummer Night’s Dream. She made four lovely Elizabethan style hats for the fairies (and the frames for some of the collars, like Oberon's in this picture). The play is one of my favourites by Shakespeare I have to say and it was wonderful to hear the language, the voices and to engage in the action and the story.

The star of this production, to my mind, was not the ‘big name‘ (Dame Judi Dench) but Bottom. Of course it is a role which begs indulgence, and he played it to the full.

The costumes were effective, the staging simple but atmospheric and the theatre, full to bursting, had a natural ambience that felt redolent of a much older building. There was floor space in front of the stage filled with audience sat upon cushions or the polished boards, we sat in the second row on the extreme left. This gave us a close but angled view of the action.

The sound system didn’t really meet the standards of the rest of the production (and being a musician I would, of course, have preferred live musicians), but the music was appropriate and worked well. The actress who played Cobweb had a very clear and pretty singing voice, and one of the fairies (a solid looking guy with dreads) had the most amazing ability to drop what sounded like two octaves in one verse.

The performances by all were, without exception, entertaining. Dame Judi was a wonderful Titania, and her wonderfully tall (by comparison) Oberon was elegant and an excellent foil.

I highly recommend this production (but you'll be lucky to get tickets) and if you haven't been to a play in a while - go see one. The lights, the people in front of you speaking real words from memory (not an autocue) and performing for you, to you, not a camera.

The drive home was much quicker than the drive there which took three hours from Cambridge to Kingston via Temple Fortune (to pick up mother). I drove through sunshine, rain, snow, sleet and hail at various points of the journey (some of these meteorological events lasting only a few minutes), but it was well worth a winter night's drive.

Production photos by Nobby Clark - no rights are exerted over these images which remain the property of the original copyright holder.