"Well written, funny and wistful" - Paul Linford; "He is indeed the Lib Dem blogfather" - Stephen Tall "Jonathan Calder holds his end up well in the competitive world of the blogosphere" - New Statesman "A prominent Liberal Democrat blogger" - BBC Radio 4 Today; "One of my favourite blogs" - Stumbling and Mumbling; "Charming and younger than I expected" - Wartime Housewife
"Someone who attended a private school in London or the South East is 24 times more likely to become a permanent secretary than someone educated at a state school in the North. For a seat in the House of Lords, the gap is 23-fold. That is not class inequality plus regional inequality. It is what happens when they multiply." Nick Harrison asks if No 10 North will change who runs Britain.
Janice Mak says American schools are increasingly questioning whether every student needs a laptop: "This distinction between passive consumption and purposeful use is increasingly shaping school policy. Updated policies also reflect an emerging emphasis on age-appropriate screen use, student well-being and ensuring that technology can support, rather than replace, direct instruction and student collaboration."
Adam Sherwin reports on the plans to turn off Freeview television and the threat that poses to Talking Pictures TV.
Scott Barry Kaufman argues that the role of luck in successful lives is far greater than we realise.
"Do not be lulled into complacency by the family-film aesthetics. When Mom the Sheepdog instructed Babe the Pig to dominate other animals by abusing them, demeaning them, and telling them what to do, and Babe refused because disrespecting another living creature would be wrong? That moment might have radicalised a generation." Roxana Hadadi discusses the politics of Babe (1995).
"From the end of the Victorian period, Broadstairs was strategically marketing its Dickensian connections through postcards, guide books and festivals. In 1897 Alfred Harmsworth (founder of the Daily Mail) was one of the organisers of a ‘Dickens Village’, which recreated scenes including Defarge’s wine shop, Peggotty’s boat, the Great White Hart at Ipswich and the Old Curiosity Shop. The festival was successful enough to be repeated the following year." Carolyn Oulton on the long history of Dickens tourism in Broadstairs.
This a terrific lecture by Ian Christie, whose writings did much to bring the films of Michael Powell and Emeric Pressburger back to prominence.
His Gothic London begins with early Dickens adaptations, made because there was a ready public for them. And Dickens, after all, was a cinematic novelist before cinema was invented.
Then we go though Jekyll and Hyde, Jack the Ripper and the London fog to reach the early Hitchcock. The exoticism of Limehouse, with its opium dens and Chinese population, also figures.
Next we take in the Blitz and this blog's favourite topic of bombsites, before returning to Dickens in the shape of David Lean's peerless Great Expectations and Oliver Twist. Carol Reed's 1970 film of Lionel Bart's Oliver!, says Christie, was the first colour adaptation of a Dickens novel.
And we end with some modern Gothic takes of London, including Death Line and From Hell.
"In many cases, lack of coordination and administrative errors in the Home Office cause failed removals. Complications around booking flights, arranging escorts and other practicalities have all been found to prevent deportations, as well as procedural issues such as lack of travel documents. But continued misrepresentation in the media and political rhetoric means the ECHR has continued to be a scapegoat." Sarah Singer argues that the government's new immigration and asylum bill won't work.
"'I’m Northern Irish', I would say with indignation, every time an English person referred to me as Irish. Growing up in Newtownards in the 1990s there was never any question of my Britishness. British passport, Union Jacks on every lamppost, and fully immersed in British pop culture." Yet Claire JC is now campaigning for a United Ireland – she explains why.
Nick Baird thinks the Liberal Democrats' proposed scheme for Defence Bonds is a bad idea.
"Picked up by the stump microphone as England’s batting unravelled at Trent Bridge, the Kiwis summed up what a lot of us are thinking: 'What are they doing?' It was aimed at the batters in front of them. But by the end of what was an extraordinary, shocking and chaotic day, it felt like the question that summed up English cricket from top to bottom." Elizabeth Ammon asks if anyone in English cricket knows what they are doing.
Timothy Ott on Charles Dickens's visit to Washington: "Dickens and an unnamed official, 'having twice or thrice rung a bell which nobody answered,' simply entered the White House and attempted to find the president on their own."
Nigel Andrew on the forgotten genius of Ivy Compton-Burnett: "The critic Norman Shrapnel wrote: 'Of the two candidates for greatness among comic novelists of our time, Evelyn Waugh and Ivy Compton-Burnett, it is her prospect that looks the more secure.'"
G.K. Chesterton was a brilliant literary critic and there's an observation of his on Dickens that I've quoted more than once in print:
It seems almost as if these grisly figures, Mrs. Chadband and Mrs. Clennam, Miss Havisham, and Miss Flite, Nemo and Sally Brass, were keeping something back from the author as well as from the reader. When the book closes we do not know their real secret. They soothed the optimistic Dickens with something less terrible than the truth.
I have an uneasy feeling that Lord Bonkers sometimes soothes me with something less terrible than the truth.
"The big red 'stop nudes' button is appealing because it’s a lot easier than investing in proper services to protect children and in the kind of education that will help them grow up in the world as it exists rather than the sterile bubble of Starmer's imagination. Bad actors will circumvent these measures while ordinary people's privacy is undermined, and health information and even art is censored. The design choices that have led to this environment are the same choices that the government courts when it tries to partner with these tech companies." Mic Wright looks at the media's uncritical coverage of government plans to prevent children viewing or sharing nude images online.
Claire Jones analyses the creeping misogyny of Reform's agenda: "To enshrine women’s demotion to second class citizens, Reform has pledged to drop the 2010 Equalities Act which provides legal recourse for maternity leave, sexual assault, domestic abuse and employment discrimination. Reform also plans to ditch the ECHR thus thwarting it’s use by women as another court of appeal. You can hear the sound of doors closing."
David Eddy asks who is protecting our drinking water as an energy company seeks permission to drill through the chalk aquifer beneath the Yorkshire Wolds in search of gas.
"You may heard that if you’re under 25, your brain isn’t fully developed yet. It's an adage supposing that individuals under 25 can’t think things through or make rational decisions, and so are less responsible than older folk. This logic has now formed the basis of official government advice, sentencing, and more. The only problem with this fact is... it’s not a fact. Never has been. No matter how many TikTokers insist otherwise." Dean Burnett takes aim at a scientific myth.
Oliver Bray has been to an exhibition at the Dickens Museum in London: "It reframes Dickens not only through the women he knew, but through the theatrical culture they collectively inhabited. Stepping outside, I felt his familiar voice linger, now joined by the sense that the women behind the scenes were finally stepping into the light – something the dramatist in Dickens might have appreciated."
"On one level, this is a song about a man who, losing his mother, seeks to make his lover a surrogate maternal figure. On a larger level, it is about the need to find an escape, a haven, from the brutal realities of life. But it must be mentioned that this is a song about the power and necessity of movies... that was written for a movie." Another Paul on That's Why God Made the Movies, one of my favourite Paul Simon songs.
Here's a remarkable thing. Between 1933 and 1963, it was illegal in Britain for a child under 12 to appear in an entertainment production on stage or on screen. And that explains the following press cuttings.
One of the best-kept secrets of the British film industry is revealed at last by producer Ronald Neame’s announcement that John Howard Davies, cast as Oliver Twist Cineguild's screen version of Charles Dickens’s famous novel, has been playing the part at Pinewood Studios for the last four months. [John Howard Davies was nine.]
I am able to reveal to-day the name of another of those juvenile lawbreakers who act in films under the age of fifteen: Carol Reed, who finishes directing The Lost Illusion” to-day. gives me permission to say that the important part of the small boy who becomes involved in a murder case has been played for the past two months by Bobbie Henrey, an attractive eight-year-old with blond wavy hair. [The Lost Illusion was retitled The Fallen Idol before release.]
It is three months since watched a scene being shot on the floor at Pinewood Studios for the new Dirk Bogarde thriller Hunted. The unechoing spaces of a sound stage have their own special atmosphere especially when carpenters and jobbers are silenced for shooting but on this occasion the sense of hush was almost tangible.
It was in fact hush-hush for through a door at the back of the set – a typical transport drivers' cafe halt – came Dirk Bogarde and small blond child. At my elbow a whisper informed me that no mention could made of the boy: not until the film was finished completely cut and polished ready for screen.
That is the way the law or rather the evasion of the law works in the British film industry Child actors are not supposed to do this work therefore as far as everyone but those intimately involved the making of the film are concerned they do not exist I think 1 am right in saying that the law prohibits the employment of children under 12 years of age. And here was 6½-year-old Jon Whiteley in middle of perhaps the longest screen role a child has ever attempted.
And, come to think of it, though there were popular British child stars in the years before these three productions – Elizabeth Taylor, Freddie Bartholomew, Roddy McDowall – they made their films in Holywood.
In 1948 it had been expected that an amendment to the Cinematograph Films Act 1938 would relax the rules on young performers and remove the need for this subterfuge, but it was unexpectedly ruled out of order by the speaker.
I've even seen it suggested that the very public search for an Oliver Twist was designed to reassure the authorities that the producers were intending to cast an older boy, when they had already chosen John Howard Davies, the son of a well-known scriptwriter. The story goes that one of the production team had seen him when he was invited to dinner by the boy's parents.
There were a few prosecutions for employing child actors, but for the most part the 1933 law was ignored until it was superseded by the 1963 Children and Young Person’s Act. You can read more in article by Richard Farmer.
Occasionally a writer will still publish a novel in instalments as the Victorians did. In the preface to his 44 Scotland Street, Alexander McCall Smith describes the genesis of the book in his meeting Armistead Maupin at a party in California. Maupin had originally published the first five of his celebrated Tales from the City books in this manner.
On his return to Scotland, McCall Smith wrote an article about this meeting in The Scotsman, saying it was a shame that newspapers no long published serialised novels. The newspaper’s editorial staff took up the implicit challenge and, over an optimistic lunch, he found himself agreeing to publish a novel in that paper's pages in daily instalments:
The real challenge in writing a novel that is to be serialised in this particular way – that is, in relatively small segments – is to keep the momentum of the narrative going without becoming too staccato in tone. … Above all, a serial novel must be entertaining. This does not mean that one cannot deal with serious topics, or make appeal to the finer emotions of the reader, but one has to keep a light touch.
When the serial started to run, I had a number of sections already completed. As the months went by, however, I had fewer and fewer pages in hand, and towards the end I was only three episodes ahead of publication. This was very different, then, from merely taking an existing manuscript and chopping it up into sections. The book was written while it was being published. An obvious consequence of this was that I could not go back and make changes – it was too late to do that.
McCall has now written written 17 volumes in this 44 Scotland Street series, but I don’t know if he published any in serial form beyond the first two.
That Guardian list of the 100 best novels of all time has given the anti-Dickens tendency fresh legs. They tried him at school and hated him. He was paid by the word – that's why his books are so long.
I will admit that my love of Dickens has probably been helped by the fact that I didn't study him much at school. There was a play based on the early chapters of Nicholas Nickleby when I was 12 (I read Wackford Squeers as it happens) and a passage from Hard Times three of four years later. That was all.
But if you had too much Dickens when you were too young, here's a thought: maybe the judgements you made when you were 15 shouldn't be allowed to last a lifetime?
I remember our O-level English teacher trying us with a Joseph Conrad short story, The Secret Sharer. None of us – not me, not Allison Pearson – could get anything from it. He had the sense to abandon the attempt and move on to something else.
So for years I remembered Conrad as a difficult writer. But when, in my forties and after the 7/7 bombings, I decided to read his The Secret Agent for its insights into terrorism, I found that I loved it.
No, Dickens wasn't paid by the word, but the great thick books we now consume weren't the way his original readers experienced him.
Dickens published his novels in 20 monthly instalments, with the last two appearing together. So the Victorians took 19 months to read, say, Bleak House and never experienced it as an intimidating peak they had to scale.
His later novels were carefully planned before he began to write, but that was not the case with the earlier ones. There's a chapter in Oliver Twist where Dickens pauses to try to make sense of its complicated plot - and fails. Martin Chuzzlewit wasn't selling well, so he sent its hero off to the United States to spark new interest. And in The Old Curiosity Shop, he soon changed the nature of one character and dropped another altogether when he realised he wasn't necessary.
And the books had illustrations; indeed, The Pickwick Papers was written to fit existing engravings. After that, Dickens was careful in his choice of artists and always worked closely with them. To him, the illustrations were an important part of the book, but today his novels are often published without them, either to save money or out of a strange disapproval of pictures in a novel for adults.
That disapproval is even stranger in the case of Thackeray's wonderful Vanity Fair, which he illustrated himself. Sometimes the text tells you one thing and the illustration says another, and you instinctively believe the picture rather than the words. So leaving out those pictures fundamentally changes how you experience the book.
A short documentary on the great British film director Carol Reed, focusing on his trilogy of great films of the late 1940s – Odd Man Out, The Fallen Idol and The Third Man – and Oliver!, for which he won an Oscar late in his career.
Bobby Henrey, the boy from The Fallen Idol, is still with us and can be heard talking about his experience of making the film on an edition of the Soho Bites podcast.
Chris Dillow lays bare the stupidity of Westminster politics: "If your final shortlist for a job comprises Mandelson, George Osborne (and maybe Bear Grylls) but not anyone with direct relevant experience such as career diplomats then you’ve probably not even bothered to do a detailed job description; you’ve not asked 'what’s the shape of the hole we want to fill and who is that shape?' One of the most prestigious jobs in government seems to have been filled with less care than an investment bank would take over the hiring of a junior analyst."
"Every child is met at the door with a handshake and direct eye contact. This is one of the strategies we use to 'fill the emotional piggy bank' - a deliberate, personal connection that ensures every child feels seen as a human being, not just a data point. We’ve doubled down on the 'analogue' joys of childhood. We try to prioritise the outdoors and Forest School, getting muddy, play and physical movement. Every one of our pupils plays a musical instrument every single day." Primary school headteacher Ruth McManus on educating digital-native children.
Alissa Walker brings good news from France: "Paris's school streets are effectively sculpting out instant parks in the locations where they'll provide immense public health benefits to the city's most vulnerable populations. But it's true, they really stand for something else entirely: a city brave enough to prioritise children."
Amanda Cole has found there's not just prejudice against regional accents by people in the South East of England, there's also prejudice against the wrong sort of South-Eastern accent.
"The Ipcress File (the book) came out around the same time as Dr No (the movie). Reviews of the novel pointed out the contrast between the glamour of James Bond and the grime of Deighton’s spy world: there are no Aston Martins or high-rolling casinos in The Ipcress File, just ‘a little grey rusting Morris 1000’ and a grimy strip-joint on Wardour Street." Thomas Jones explores the world of Len Deighton.
Emma Linford sees Great Expectations as an early exploration of the effects of romance fraud.
By my calculation, this edition of The South Bank Show dates from 1994. As much of my politics come from reading Oliver Twist too young, and as Oliver! is the great British musical. I had to watch it.
And there is much to enjoy, beginning with Lionel Bart's adventures in the new world of pop music with Tommy Steele and Cliff Richard.
Then there's Oliver!, whose first night was just as triumphant as Bart makes it sound. On to the film, where I note that Mark Lester was still giving the impression that he sang in it. He didn't.
The disaster of Twang!! caused the crash of Bart's career, but maybe the warning signs were there with his musical Blitz!, which Noel Coward claimed was "twice as loud and twice as long as the real thing".
Note the presence of Mark Steyn, who had yet to reinvent himself as a commentator on geopolitics. As I wrote of him in 2008:
Steyn is a good film critic, able to write intelligently about unintelligent films. But the fact that for several years his was the predominant voice on foreign affairs in the British Conservative press was simply bizarre.
If you enjoy this, it gives me the excuse to give another plug for the superlative South Bank Show on the London production of Stephen Sondheim's Sweeney Todd.
This session was recorded in 2012, three years before Ron Moody died. As well as Moody, who played Fagin in the 1968 film of Oliver! having first created the role on stage, it features Kenneth Cranham, who was Noah Claypole, and Mark Lester, who was Oliver himself.
As Kenneth Cranham says, it was Moody's reinvention of Fagin that made the film's worldwide success possible by moving the story away from the medieval antisemitism that Dickens drew upon. I wrote about this aspect of the novel in a book chapter a few years ago - there a short extract in another post on this blog.
But then Dickens long ago lost control of Oliver Twist. Such is the power of the novel that it has entered folklore and, like a folk tale, it now changes with every telling of its story. I wrote more about this in 2015 when Ron Moody died.
"As need has grown and reform and resources have stalled, 1.9 million people in England alone provided a 'full-time' (defined as 35 hours or more) week of care in 2023-24 – that’s 70 per cent more than 20 years ago. Others have to fit caring responsibilities around their jobs: dropping off the kids at school, going to the office and then helping their elderly parents bathe and eat." Frances Ryan asks who will care for the carers.
Ari Berman names the far-right conspiracists who are urging Trump to take control of the mid-term elections.
Tao Wang says a study of the prohibition of absinthe in France in 1915 can teach us about modern day blaming and shaming. "Scapegoating operates as a powerful social mechanism. It often turns uncertainty, fear or political conflict into social blaming directed at certain persons or groups, based on thin, selective or simply false stories being told or repeated as if they were true."
Caitlin Chatterton argues that though female fans can make a musician's career, they are not taken seriously: "Perennial sexism in the music industry has often seen female fans stereotyped as hysterical. Rooted in Ancient Greek, 'hysteria' has long been used to portray women as somehow innately unstable, and therefore incapable of critical thought. It’s what kept us out of politics for so long, and it’s why our opinions are still being discredited."
"Though supported by the Parish Council and pressing need, this modest plan for six council houses aroused fierce opposition. William Maclean Homan, the town’s historian, argued it would cause Winchelsea to become a 'third-rate modern village'. He favoured, instead, a proposal to build private rented housing on low-lying land away from the town at the bottom of the hill on a site rejected by the Council because of its poor drainage." Municipal Dreams on the battle to build council housing in Winchelsea.
Adam Roberts wonders why no one reads Walter Scott any more: "Back then, everybody read him. He was the first global superstar of the novel. It's the Rule 34 of 19th-century literary studies: Everybody read Scott, no exceptions. ... Dickens's great dream, when he began writing fiction, was to do what Scott did."
Christopher M. Cruz says US Democrats have failed to offer a vision of a liberal education: "This is not just bad for Democrats, but bad for the world as we have seen the country slip into chaos. If liberals want to see things change in 2028, they (and everyone else) should concern themselves more forcefully with the role of the liberal arts in educational institutions and invest to become the primary champion of books in the public square."
"This is not what I wanted to write. I wanted to write about how I’m about to go on book tour for my new book in a few days. Instead I am writing about the fact that I was just informed that my first book Let’s Pretend This Never Happened was banned from the high school library of a nearby town I love and visit often." Jenny Lawson on how we should respond to censorship.
Adam Stanaland and Andrea Vial find that gender conformity starts young and that boys and girls fall in line in different ways.
The Argumentative Old Git takes on Dickens' detractors: "It is entirely characteristic of him that, after the comedy of Pickwick Papers, he wanted to try his hand at something quite different. Oliver Twist is, admittedly, highly melodramatic, and teeters at times on the edge of sentimentality. But nonetheless, it projects a very real sense of menace. And I cannot really think of any other novel so crammed full of iconic scenes and images."
"Because Lee plays him like this, resisting every temptation to wink at the audience, or signal his villainy, refusing to give Howie or the audience any purchase on what he really is, Lord Summerisle becomes one of the most quietly frightening villains in British cinema history." Adam Page argues that The Wicker Man provided Christopher Lee with his greatest film role.
"First published in 1999, when Elizabeth Jane Howard was nearing the twilight of her career, Falling was inspired by real-life events. When Howard was in her seventies, she fell for the charms of a con man – a seemingly attentive man who took advantage of the fact that she was unattached and vulnerable yet receptive to admiration." JacquiWine praises Howard's late masterpiece.
It's Charles Dickens' birthday. He was born on 7 February 1812 in Portsmouth – you can visit the house where he was born.
To celebrate the day, here is his description of the effect the building of the London to Birmingham railway had on Camden:
The first shock of a great earthquake had, just at that period, rent the whole neighbourhood to its centre. Traces of its course were visible on every side. Houses were knocked down; streets broken through and stopped; deep pits and trenches dug in the ground; enormous heaps of earth and clay thrown up; buildings that were undermined and shaking, propped by great beams of wood.
Here, a chaos of carts, overthrown and jumbled together, lay topsy-turvy at the bottom of a steep unnatural hill; there, confused treasures of iron soaked and rusted in something that had accidentally become a pond. Everywhere were bridges that led nowhere; thoroughfares that were wholly impassable; Babel towers of chimneys, wanting half their height; temporary wooden houses and enclosures, in the most unlikely situations; carcases of ragged tenements, and fragments of unfinished walls and arches, and piles of scaffolding, and wildernesses of bricks, and giant forms of cranes, and tripods straddling above nothing.
There were a hundred thousand shapes and substances of incompleteness, wildly mingled out of their places, upside down, burrowing in the earth, aspiring in the air, mouldering in the water, and unintelligible as any dream. Hot springs and fiery eruptions, the usual attendants upon earthquakes, lent their contributions of confusion to the scene. Boiling water hissed and heaved within dilapidated walls; whence, also, the glare and roar of flames came issuing forth; and mounds of ashes blocked up rights of way, and wholly changed the law and custom of the neighbourhood.
This is all one paragraph in Dombey and Son, but I feel sure that Dickens would use shorter ones if he were writing a blog post.
"The fallout from the latest revelations has again put survivors secondary to the actions of powerful men. Mandelson, who maintained a friendship with Epstein after his 2008 conviction, initially declined to apologise to Epstein’s victims and distance himself from any knowledge of the financier’s sex crimes." Victims have told us the worst of Epstein’s crimes for decades – and but they are still being ignored, says Lindsey Blumell.
Stephanie Burt on the organised opposition to ICE in Minnesota: "In January a horde of masked thugs arrived in the Twin Cities as part of Donald Trump’s Operation Metro Surge to brutalise, kidnap and deport undocumented residents. The goons soon found themselves outnumbered, as well as watched, followed, tracked and sometimes stymied by rapidly organised networks of civilians, who use text chains, plastic whistles, car horns and in one case a trombone to discomfit the would-be kidnappers and warn their potential victims."
"The 'laissez-faire' of free trade was ... less an ideological commitment to the free market or a desire to give free rein to rich capitalists as it was an effort to feed the poor, foster world peace and cosmopolitan friendship, and erode the baleful and unjustly got power of land-owning aristocrats." Paul Crider speaks up for Manchester Liberalism.
"She may have been a child of Victorian Wales but she saw nudity as natural." Jonathan Jones goes to see the Gwen John exhibition at the National Museum, Cardiff.
Cavan Scott encounters Charles Dickens and Winnie the Pooh in New York.
"Without doubt, information provided during the height of the global financial crisis by a senior Member of the British Government, will have been operationally beneficial to a hedge fund manager, international financier and broker like Jeffrey Epstein. Without doubt, Mandelson will have known this when he was sending this information." Gareth Roberts makes the case for charging Peter Mandelson with misconduct in public office.
Catherine Barnard and Denzil Davidson ask if Greenland can join the European Union: "Whether Greenlanders decide that it should be attempted, and how such an attempt would be received in Washington, will be an important question for the geopolitics of the High North and the EU’s role in it."
Laura Laker on the battles over Haringey's delivery of one of the largest simultaneous rollouts of Low Traffic Neighbourhood zones in London, and of 36 school streets covering 44 schools.
"The full origins of Epstein’s wealth remain shrouded in mystery, but what is clear, according to Forbes' review of court filings, an investigative memo and financial records, is that Epstein relied above all on two billionaire clients and a tax gimmick to build his fortune." How did Jeffrey Epstein get so rich? Giacomo Tognini and John Hyatt investigate.
John Mullan sings the praises of Dombey and Son: "Like all great Dickens novels it has really satisfying baddies. Major 'Joe' Bagstock, one of those who predates on the loftily oblivious Mr Dombey, is a sinister, blue-faced old soldier with the disconcerting habit of talking of himself in the third person to an invisible confidante. 'He's hard-hearted, Sir, is Joe – he's tough, Sir, tough, and de-vilish sly!'"
"I don’t know the Lake District very well, but back in 2015 I went to see the last Golden Eagle that lived alone on the dark crags above Haweswater Reservoir. At the time, I didn’t realise how lucky I was to watch it soar above me, because by 2016 it had gone, presumed dead somewhere in the mountains and thus ending the history of breeding Golden Eagles in England." Mary Colwell on Lee Schofield and his book Wild Fell.
Significant numbers of Liberal Democrat MPs are becoming frustrated by Ed Davey's cautious leadership and the party’s failure to spell out a national message to voters, according to an article posted on the Guardian website this afternoon:
Peter Walker quotes one MP as telling him:
"Morale is low. No one is saying get rid of Ed. But what they are saying is that those around him need to move with significant pace towards the development of a national story for the party to tell. We need to be a bit more serious about being the third party."
The unnamed MP is right about our lack of a Lib Dem narrative. We fought the last general election as a collection of by-elections – three bullet points and Labour can't win here – and we often appear still to be approaching politics in that fashion.
Walker quotes some Davey loyalists too, but he reports:
Many Lib Dem MPs nonetheless agree that the party needs a coherent national policy, particularly on the cost of living. "We need a big retail offer on the economy," one said. "We need to be more radical on this and if we are, Ed is the person to do it as he’s well liked, experienced and won’t scare people."
Is this just Sunday paper talk or a sign of serious discord in the parliamentary party? I can't be the only person who's heard of complaints that Davey's leadership is very top down.
Anyway, another of Walker's anonymous MPs sounds a warning note:
"There’s no shouting, there is no jostling for position. But there are penetrating questions being asked about our purpose and where we are going. At the moment it feels a bit like gruel. Ed needs to be mindful that it won’t take much more for colleagues to become really frustrated."
I posted a video of the South Bank Show film on the staging of Sweeney Todd a few days ago and have been obsessed with Stephen Sondheim's musical ever since. I didn't see Sweeney in 1980, but I have strong memories of watching that film about that production, with the result that I cannot quite accept anyone but Denis Quilley and Sheila Hancock in the lead roles.
Someone has made the video above by pulling out some of the scenes of the finished show from the film, and if you are as obsessed as me you will want to listen to the audio recording of the whole of the closing performance of that first London production.
The closing performance came after four months, and a lot of money was lost. It was an expensive production, including a full orchestra, and the Theatre Royal Drury Lane was a huge venue to fill.
Stephen Sondheim was not then, at least in Britain, the acknowledged master of musical theatre that he became. Side by Side by Sondheim had recently been a success in the West End, but it was a revue and had been staged in a theatre less the half the size of Drury Lane. Nor was Sweeney Todd's subject matter calculated to bring the coach parties in.
But it was the lukewarm response of the critics that got most of the blame - you can hear Quilley mention them in his brief speech at the end of the audio recording. And even in the ecstatic response of Michael Billington, you can make out the factors that helped keep the crowds away:
Sweeney Todd is the reversal of everything we traditionally expect of a musical. It has a powerful and gripping story, hardly a single extractable tune, a fierce sense of social justice. Yet, after seeing it on Broadway 18 months ago and now at the Theatre Royal Drury Lane, I would call it sensationally effective.
Indeed, burning a boat or two, I would say it is one of the two (My Fair Lady being the other) durable works of popular musical theatre in my lifetime.
Even if that was going it a little, he was a better predictor than most of his colleagues. Sweeney Todd is now accepted as a stone cold classic.
A true story?
In one of his few narrator's incursions into the South Bank Show film, Melvyn Bragg says that the legend of Sweeney Todd is based on a true story that happened in Paris around 1800 and first appeared in print in Britain in 1846.
But The Singing Organ-Grinder has found a version of the legend that sets it in 17th-century Calais. And Charles Dickens assumes in Martin Chuzzlewit (1843-4) that his readers will know and smile at stories of people being turned into pies in London:
Tom's evil genius did not lead him into the dens of any of those preparers of cannibalic pastry, who are represented in many standard country legends as doing a lively retail business in the Metropolis.
So I suspect that Sweeney Todd and his Continental equivalents are urban legends with a long history.
Not the first musical
Searching the British Newspaper Archive, I discovered that Sondheim's was not the first musical about Sweeney Todd to be staged in London. In 1959, a musical called The Demon Barber was staged at the Lyric, Hammersmith.
A pompous introduction to the programme of "The Demon Barber," at the Lyric, Hammersmith, states that this new musical has roots which "reach to 'The Beggar's Opera', the music hall, and D'Oyley (sic) Carte". Be that as it may, the result is a feeble adaptation as a musical of the Sweeney Todd story, the blood and thunder gone and replaced by burlesque which flies wide of its mark.
It seems no one else much liked it either, as a member of cast recalls:
My first theatre job in London was in 1959 at the Lyric Hammersmith. I was Jonas Fogg the madhouse keeper (who else?) in Donald Cotton and Brian Burke’s The Demon Barber. It was quite an elaborate little musical about Sweeney Todd which Stephen Sondheim had never heard of. Sondheim didn’t know of this version when he composed the 1979 musical/opera Sweeney Todd: The Demon Barber of Fleet Street.
It closed on Christmas Eve after 14 performances. Not very long after, this exquisite theatre was demolished at a time when borough councils felt it was their duty to continue the work of Reichsmarschall Goering in the destruction of London. They brought a new ferocity to the task, and many of London’s theatres that had survived the Blitz were gleefully pulverised by the advocates of Progress.
The Lyric was cynically reconstituted, but it was never the same.
The writer is Barry Humphries. At least the swift demise of The Demon Barber left him free to appear in Oliver! the following July.
Don't worry. I'll have found a new rabbit hole soon.
