Storybookers

Don’t Judge A Library By Its Cover

I’d like to join the friends of Birmingham Central Library in mourning the passing of this highly emotive city landmark.  The building has sat empty since 2013, having been replaced by the Library of Birmingham, which is situated in nearby Centenary Square. Despite all protestations, campaigning and calls for alternative uses for the building the bulldozers have finally come to put the old place out of its misery.

The Birmingham Central Library building has always courted controversy and divided opinion.  The old Library, which dominated Chamberlain Square was opened, by then Prime Minister, Harold Wilson, on a sunny Saturday morning in 1974.  Little did anyone know that the strength of feeling against the building would mean it would struggle to reach its 40th birthday.  

Prince Charles famously described it as looking like a place where books go to be incinerated and a former Birmingham director of planning labelled it a ‘concrete monstrosity’.  But there were many, including Turner prize winning artist, Jeremy Deller, who understood its appeal.  And so the battle raged between those who saw it as a blot on the landscape and those who believed its stark British Brutalist architectural style should to be honoured.

It’s worth noting that Birmingham born architect, John Madin, had no intention of building a 'concrete monstrosity’.  His original plans were for the building to be clad in Portland stone or Travertine marble.  But Birmingham City Council were reluctant to foot the bill and the concrete exterior was used instead.

Admittedly the library’s sub-Bauhaus design isn’t even my kind of thing, but I’d grown to like it.  Besides I wasn’t into it for its looks.  It was what lay within that sparked my interest.  Within those grey walls lay books that helped me get the life I truly wanted, rather than the one others thought would suit me best.  It contained a wealth of knowledge I couldn’t get anywhere else.  Without it I would have struggled to find the inspiration I needed to pursue my career in the arts.  

My dreams were kept alive by a Library that became my second home.  Inside I discovered the writings of great philosophers, historians, dramatists and political thinkers.  But it was when I came across the books on art that my life changed.  There were beautiful images of the great master’s finest works.  And I found information about influential past and contemporary art movements.

This was all before the internet, so without these books I would never have been able to find any of this.  I was inspired and soaked up all the knowledge I could. Those days, pouring through volume after marvellous volume, shaped how I viewed the world and how I saw my future.  

As far back as I can remember I always wanted to be an artist.   

Pursuing that particular path is tricky enough nowadays, but back in Birmingham in the 1970s I might as well have said I wanted to be an astronaut. I was two years out of school before I even found out there were art schools in Birmingham.  I’ll share that story with you another time.

Once I did find out about art schools I ditched my job in engineering, enrolled in Bournville School of Art and signed up for the artist’s life. There’s more to that story too and I’ll also share that with you another time.  

Occasionally I’ll walk into a gallery and find myself standing in front of one of the paintings I gazed at with wonder in my youth.  Once I get over the initial rush I smile and thank the Birmingham Central Library for what it gave me all those years ago.


 Out With The Old, In With The New

I paid a visit to the new Library of Birmingham last year.   I like it.  It was more like coming home than visiting a new building.  For a start, it’s attached to another of my old stomping ground, the Birmingham Rep.  When I reached the art department and found some of the books that I was inspired by are now on the new library’s shelves I felt a sense of continuity.  I was filled with hope that some young kid wanting to follow their chosen path would also be inspired.

Attitude to the creative industries is slowly changing.  The last few years as seen it become one of UK’s major growth sectors.  But there’s probably a young person somewhere having a hard time convincing people that they want to follow their dreams.  

 So before I go.  Is there something you need to know?  Are you looking for a nugget of wisdom that will transform your life?  If so, there might be a book on the subject available, for free, at your local library.   So why not pop down and see.

 

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Posted 444 weeks ago

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War Horse Musician Lose Court Battle Against National Theatre

Posted by Norman Bailey on Friday, April 18, 2014 Under: Theatre

Being a theatre director I will be following, with interest, the recent developments on the National Theatre’s London production of War Horse.

Five musicians have failed to win a High Court order against the National Theatre (NT) after being made redundant from the West End production and replaced by a prerecorded soundtrack.

The NT said the decision to cut live music from the show was made for artistic and financial reasons.  Very interesting!  War Horse is one of the National's most successful productions in recent years, having been seen by more than 2.5 million people worldwide.  But could it be feeling the pinch at a time when many other West End productions are experiencing a boom in ticket sales?trans.gif  

On the Artistic front they believe that as War Horse is a play with music rather than a musical production it doesn’t warrant a real orchestra. 

So should musicians be worried about this latest development?  

Until these sackings the London production of War Horse, Currently running at The New London Theatre, was the only version worldwide to make use of real musicians.   This latest move puts War Horse London in line with other 'play with music' productions that have opted for backing tracks.  However, This might be one of the first to decide, after a 5 year run, that it's better off without live music.

Theatre - a tough old business

As a theatre director myself I know tough decisions have to be made.  The Last play I put on, Where's Norman Beaton Gone?, was also a play with music.  On that occasion I used prerecorded music.  This was the first run of a new play by a new writer.  So finding musicians who would play Ska, Reggae and Soca music on the budget we had was going to be a stretch.  Plus, one of the Off-West End venues it played, the Lion and Unicorn Theatre, wouldn't have been big enough of house a band and the 10-strong cast.  Strangely it was a potential backer who suggested that taking it forward we should use live music - they're usually looking to the pennies and keeping the costs down. 

The play I'm currently working on is also a 'with music' production.  It's set in the1950s against the backdrop of the New York, Jazz and Blues scene.  The question is; Will producers out there think, as the National do, that retaining artists is an unnecessary expense? Only time will tell.

The War Horse Musicians Fight on

The musicians, in the case of War Horse, took legal action last week following the theatre's decision to call an end their contribution. 

Neyire Ashworth, Andrew Callard, Jonathan Eddie, David Holt and Colin Rae - who had been with the hit show since it's opening in 2009 - had their roles cut back in March 2013 to just a few minutes per performance. Their contracts were terminated last month when live orchestrated music was cut from the production. The five had continued to show up for nightly performances but were turned away.

David Reade QC said the theatre was entitled to terminate their contracts as there was no longer an orchestra in the production, saying War Horse was a play that featured music - rather than a musical production.  He added, "The orchestra was not an integral part of the play. The Theatre is said to be delighted with the High Court's decision.

The NT felt it necessary to emphasise that War Horse has always been, and will continue to be, a play in which music plays an integral part, with a recorded orchestral under-score and central roles for folk musicians who perform live folk songs and choral numbers.

The musicians' Union,  which is providing legal support to the five performers said it was “disappointed”  by the outcome.  Horace Trubridge, MU assistant general secretary, said "The fight was far from over" and added, “Had we won the interim injunction, we would have established a new legal precedent and this was possibly our best chance of ensuring our members’ contracts were honoured.

Is This The End of The West End Feel good Era?

Surprisingly West End Shows have been having a right old time thanks to the economic downturn.  People in search of some relief in this time of woe have been seeking solace in live theatre.  And West End Theatres have seen their coffers swelling.  According to Society of London Theatres figures (SOLT) gross box office returns rose to more than £585 million, up 11% on 2012.  Attendances also increased, by 4%, up to 14.6 million. Could it be that that War Horse is feeling the pinch when other West End production are benefitting from a boom?

Maybe the musicians' £1,200 - £1,500 a week salary was taking too big a bite out of War Horse's £1 million budget.  Well they seem to think so and I couldn't possibly comment.  However, less understandable are the artistic reason's.  An NT spokesperson, states that the producers and directors of War Horse did not believe that the musicians could contribute positively to the play and that it was "better off without them".  They've obviously had a big change of heart since they first mounted the production, which originally sported a full orchestra 

They added: "The National Theatre's artistic judgement, made by those with the expertise to assess such matters, is that a live band does not provide the same quality and impact of performance as can be produced through the use of recorded music and professional actors."

What's The Future For Live Music In Theatre?

The question is, will the NT and others continue to use live music or take to the current trend of using backing tracks?

I've seen a few productions recently that have featured live music.  A couple were at the National.  One being Elmina's Kitchen, directed by artistic director Nicholas Hytner and, more recently, the James Baldwin Classic The Amen Corner directed by his soon to be successor Rufus Norriss.  In the case of The Amen Corner, which has often been mistakenly categorised as a musical,  the live music was a key element of the piece.  But as I sit and think about it now, I'm sure that had the production transferred the same financial and artistic dilemmas would have reared their heads.

For me, it's sad that, in the performing arts, performing artist are always the ones who suffer in these matters.  Jobs in the industry are hard to come by so anything that cuts down on the possibility of a creative individual earning a crush will always hit hard. 

Before I go - I thoroughly enjoyed War Horse when I saw it a few months ago.  If you haven't seen it yet I'd encourage you to get along to see it before they decide they don't need puppets or actors.

In : Theatre 


Tags: "war horse" "national theatre"