Tag Archives: Made in Dagenham

Apostrophising a Turd

Have you noticed how real things eventually turn into musicals? Billy Elliot started life as an indictment of the cruelty and small-mindedness of Mrs Thatcher’s Britain and is now a musical. The last musical that I actually attended was also a Billy, decades ago. It had started life as Billy Liar, a lovely sad film about dashed hopes and chances not grasped. The young Michael Crawford was mugging for all he was worth, which was less in those days. I remember his apostrophising a turd, (‘Sink, you bugger!’), which my Aunty Sheila, with whom I saw the performance, thought de trop. (Actually the last musical I saw, I now remember, was Salad Days, because my godson was performing in it. Thankfully, Salad Days has absolutely no dark antecedents at all – and no turds.) Now we have Made in Dagenham, the struggle for sexual equality in the workplace rendered in song, dance and nostalgic frocks.

Not to mention Carmen on Ice.

It leads you to wonder, as you make your way through life, how your immediate experience might in twenty years’ time be rendered on the Shaftesbury Avenue stage. (I say ‘make your way through life’, although most of the time in my experience life happens to you whether you are making your way through it or not. In principle I like the positive approach taken by the weather-casters who are always ‘heading into Tuesday’ – though when Tuesday arrives one often wishes it hadn’t.)

This thought occurred to me the other day. I had been invited to a preview of a sale to be held by one of the great auction houses. It was of Russian art. Most of my fellow invitees seemed to come either from Russia or the countries formerly nestling contentedly in the Soviet bosom which Mr Putin now WANTS BACK. Most of them were women and they were beautifully made up and dressed – if possibly intimidatingly so, given that it was quite early in the morning. One of them – she was most attractive, in perhaps her early thirties and with extremely large earrings – kept giving me a meaningful look. I was intrigued. Then I noticed that she was giving the same meaningful look to everyone else and indeed to the exhibits. It must have been the first time that some of the dour representations in oils of endless birch forests had been subjected to such a look. But there it was: her face was immutable. The placidity with which she and her fellows drifted around the rooms (or ‘the Rooms’, as they are called in the great auction houses), their extreme elegance and the mask-like beauty of their features suggested a dance – a masque in fact. I thought back to the way Cecil Beaton had dressed My Fair Lady, even more decades ago than Billy, when I was a child and taken for a treat. It was towards the end of that musical’s very long run and it looked, frankly, tatty. But when Beaton’s frocks were new they might have merited comparison with these glorious creatures.

I thought about their husbands. They were much too busy to attend the preview but would no doubt, on the recommendation of their wives and with suggestions from their consultants as to desirable lots and cunning bargains, be at the sale itself. They would be less elegant. Their uniform was newly laundered Levis, open-necked white shirts and blazers. They would hold paddles and thrust them into the air with their stocky little arms. They did not recall Cecil Beaton. They did however suggest a dance. I imagined them stomping round the stage in Indian file. They are chanting sotto voce:

Russian Art and
Works of Art
Fabergé and
ICONS!

The last word is shouted and they all wave their paddles in the air; then sotto voce again for the reprise.

There are the makings of something really positive here. I’ll ask Christies to provide some seed money. Maybe Michael Crawford could be tempted out of his gilded retirement to shout ‘Sink, you bugger!’ at a piece by Chris Ofili.

But to go back to my original point, what on earth do Fabergé and icons have in common, except their lowest common denominator as trophies?

Anyway, I was taking the dog for her walk in West Ham Park the other day and thinking of this. I may even have been muttering under my breath:

Russian Art and
Works of Art
Fabergé and
ICONS!

People do mutter there. It’s all right. Though I should probably have avoided shouting out the ‘ICONS!’ bit at the end. That did raise eyebrows. However, something more noteworthy was taking place and it involved the tai chi man – and music too. For most of last week when sunset came there have been the most ominous sounds and lurid flashes coming from over the Park. Then suddenly they stopped. The next day I inspected the landing strip. It had been erased. All that remained were some scorch marks. The tai chi man had seen off the hordes of Hell.

No one had actually said anything about this. No one was admitting anything. But there as I went past was the tai chi man, surrounded by children. He was not en pointe but standing naturally, with a demeanour of quiet pride. As before, he had one trouser leg rolled up and from time to time a toddler, with its mother’s encouragement, would totter forward to touch his wounded shin, to partake of the virtue that was in him. Someone started to sing and the children took up the refrain. It was Jonathan Richman’s immortal anthem Ice Cream Man, but with new words.

Tai chi man (Tai chi man)
We know so well
Tai chi man (Tai chi man)
Beating down the Gates of Hell
Tai chi man (Tai chi man)
Hear my plea
Going to do the same for me!

The men don’t know, I reflected, but the little girls [and of course boys] understand.

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