Released in 2010, ‘Made in Dagenham’ is a gritty, evocative and warm-hearted film about the female workers at the Ford car plant in Dagenham, East London, who, in 1968, downed tools to demand equal pay for doing work of equal value. The machinists faced a barrage of patronising and often vicious opposition from every side – from the management at Ford UK, their paymasters across the pond and the Labour government of the day but also from their male co-workers and their union, run – you guessed it – by men. Evidently, solidarity only applied to the hairy-arsed blokes on the assembly line.
It was a time when a woman’s place was in the home and even those who had to work to put food on the table were routinely paid less than men because, well, they were just women, after all. Thankfully, times were a-changing. The strike was ultimately successful and led to the 1970 Equal Pay Act.
A musical adaptation followed in November 2014, opening at the Adelphi Theatre in London. It’s now doing the provincial rounds and we saw the production by the Norfolk and Norwich Operatic Society at Norwich’s handsome Theatre Royal. Am-dram it may have been but top not notch am-dram it was with sparkling vocal performances, light-footed routines and a real sixties vibe. We caught the matinee, joining the grey herd who laughed, gasped and clapped their way through a clever and often very naughty script, witty lyrics and jolly tunes. Mind you, the nice people from St John’s Ambulance were on standby with their defibrillators – just in case it all got too much.
I’m not a big Andrew Lloyd Webber fan and didn’t rate ‘Cats’ when I saw it in the West End. I remember thinking it was okay, that’s all. But when I saw the trailer for the new film version I was amazed. Amazed by its exquisite beauty and amazed by the critical storm that followed. Reviews were overwhelmingly bad and just got worse when the alley cats finally hit the streets of post-war Soho. It must be the most slagged-off release in living memory. It made us determined to judge it for ourselves. Was is that terrible?
Not even close. With a top drawer cast – including Judi Dench doing her regal number and a clowder of superb dancers from the Royal Ballet – ‘Cats’ is a sight for sore eyes on a lousy winter’s day – energetic, inventive, atmospheric and visually stunning. I’m not sure what the catty critics saw but it wasn’t the same film I watched.
It’s funny how things turn out. At the start of 2019 we were loft-living city-style, happy as pigs in the proverbial. By the end, we’d escaped to the country surrounded by the stuff, all quite by chance. Our best laid plans for a move to God’s own county were consigned to the recycling bin. And, my old girl reached her own milestone – turning 90 and still on the fags.
These twin themes were writ large in Perking the Pansies this year. There’s a lesson there somewhere. Also featuring in the top ten were a couple of fairy films, a fine but imperfect city and steely celebrations by the pansies still perking after all this time. Ladies and gents, please give it up for…
As usual, popular classics were of the more salacious kind. For the third year running, Gran Canaria, Sex Emporium from 2012 was the most read blast from the past. And the most clicked image was those naughty but nice boys with their big oars from Catching Crabs.
Shame on you.
Happy New Year to one and all. All we hope for in 2020 is some sunshine. It’s been pissing down virtually every day since we moved.
Despite the decidedly mixed reviews, we threw ourselves into the festive spirit by seeing ‘Last Christmas’, starring among others, the fabulous Emma Thompson (who also co-wrote the screenplay). Set to the music of the late, great George Michael and Wham!, it’s a bitter-sweet quick-witted story of tragedy and hope. It’s a very British film with very British humour which, perhaps, doesn’t always travel. We laughed and we cried – a good sign of a good time in my book.
A rom-com with a subplot for our dark times, there’s a twist in the tail which I really didn’t see coming. And anyone who can make George Michael’s glorious but sometimes gloomy lyrics work romantically is a genius. Despite the bah humbug-ers, I’ve a feeling it’ll become a Christmas classic.
Our move date from city to country coincided with tickets to see Armistead Maupin’s one-man show at Norwich’s Theatre Royal. Maupin is the author of the Tales of the City series of novels set in San Francisco which chronicle the lives and times of an eclectic group of residents passing through the Barbary Lane boarding house turned apartments owned by Anna Madrigal. We love the books (and subsequent TV serialisations) so it was with heavy hearts we had to give Maupin a miss.
Liam was determined not to miss the next big thing – gay
icon-wise – to come along. And they don’t get bigger than the late, great Judy
Garland. Liam is a BIG fan and was virtually hyperventilating as we took our
seats at Norwich’s Cinema City for ‘Judy’, staring the wonderful Renée
Zellweger in the title role. Liam loves a dead diva.
Covering the brief period when the down-at-heel legend arrives in London in the winter of 1968 to perform a series of last-chance concerts, ‘Judy’ is not exactly a feel-good film. We all know what happens in the end and watching Judy’s descent into drug and drink-fuelled hell makes grim viewing. But the film is strangely compelling and Ms Zellweger is mesmerising – interpreting rather than parodying Judy’s magical stage presence – and all in her own voice. No miming needed. I hear Oscar knocking.