Gimme Some Skin – The Three Belles “In Full Swing” Album Track Review

The Three Belles present their new debut album "In Full Swing".
The Three Belles present their new debut album “In Full Swing”.

If you want to shake my hand, like they do it in Harlem / stick your hand right out and shout: “Gimme some skin, my friend!”

Thus the refrain of this classic Andrews Sisters number that The Three Belles do ample justice to.  This track absolutely bounces along with real verve, driven by the fast chopping jazz guitar chords and an extremely tight big band.

Naïve and hopeful in its celebration of black culture, the song was written at a time when the relationship between the white and Afro-American half of the US population were to say the very least strained. The original Andrews Sisters film clip on youtube  is telling. No black faces appear (Hollywood presumably found that too difficult to swallow). But in the modern day in which styles are stolen from every culture around the world, the song feels amazingly ahead of its time.  Using a Gospel interlude in which the Belles sing a capella while they clap along, this vibrant number absolutely revels in the joy it creates.

What more to be said of this one, except that it has a great uplifting ending, and will get your toes tapping all the way!

Order your copy of The Three Belles debut Album, In Full Swing.

“One of these days” by The Three Belles “In Full Swing” Album Track Review

The Three Belles present their new debut album "In Full Swing".
The Three Belles present their new debut album “In Full Swing”.

From the big catchy horn intro, settling into the harmonised melody, “One Of These Days” feels like a traditional 1930s number, maybe in the style of “Why Don’t You Do Right?”

The singers seem to be following the traditional role of the woman singer hard done by with her useless man.  “One of these days you’re gonna do something right / you’ll work all day and you’ll come home at night…”

But this number is one of those wolves in sheep’s clothing that definitely has a bite.  It’s a modern number with modern sensibilities – and rather than the helpless victimhood of songs like “All Of Me” in which the woman is paralysed by the grief she receives from her man, The Three Belles have something far more punchy to tell you.  By the end of the song, they are giving their fellah an ultimatum – and eventually the big kiss-off.

Just as Amy Winehouse did with Motown that had a distinctly modern feel, it’s a wonderful example of the way that modern sentiment can be expressed in the voice of the past.

Once again the arrangements here are cracking – like a big number from a Hollywood movie.

Sally Taylor, AKA Gail Winters solos in this one, with her clear voice cutting the man down to size with every syllable she utters.  This is a great number, that signs off with a cruel “bye bye”.

Vintage stuff!

Order your copy of The Three Belles debut Album, In Full Swing.

And the band played on… The Bevin Boys at The Royal Albert Hall, featuring The Three Belles, 25th April 2013

The Bevin Boys have been working out.  That’s why they’ve got bigger.

Transformed from the hot three-piece they started out as just over a year ago, they appeared at The Royal Albert Hall Elgar Room last night in a more expansive 6-piece line-up, with grand piano, bass, sax, horn, guitar and of course, William Keel-Stocker on drums.

With the change in venue comes a step-change in the music the BBs are producing, with the addition of the horns allowing the subtlety and richness of Will’s arrangements to shine through and giving the band a kind of Vintage feel that takes you right the way back the dance hall days of the 30s and 40s.

And the show works. The Elgar Room sold out, and the audience were richly appreciative.

And rightly so. Will’s exuberance as he takes control from the drum kit and turns out some great classic tunes – including his amazing rendition of “That Old Black Magic” is always accompanied by a smile and witty quip.  Since he dances, is a designer and acts, too, one has to ask: is there anything this guy can’t do?

SallyTaylorRAH

The night also featured that sparkling harmony trio The Three Belles, who got up and did their stuff – and when they kicked off their first number the table behind me who had no idea what was in store for them spontaneously exclaimed “Oh! Wow!”

This was a great night. Even when the fire alarm warning went off and full lights came up, just as The Belles were about to go on stage, the audience stayed firmly put and the band played on.  With its Vintage vibe and classic tunes, there was a moment of Titanic to the whole event – but only in the fact that it was classy indeed. Because I don’t see the remotest prospect of any of these guys sinking without trace. No sir. Quite the opposite!

“Belles Are Swingin’” by The Three Belles “In Full Swing” Album Track Review

The second track on The Three Belles’ In Full Swing debut album is their bubbly signature song Belles Are Swingin’.

The Three Belles present their new debut album "In Full Swing".
The Three Belles present their new debut album “In Full Swing”.

For those who’ve bought the single, this wholly new version of Belles Are Swingin’ will come as a real eye-opener.  Gone is the stripped-down Bevin Boys trio of the single, to be replaced with the full big band sound of the WKS Studio Orchestra.

From the trumpet riff intro with the bouncing bass line and a foghorn bass horn marking the end of each lyrical line and the start of the next, this version of Belles Are Swingin’ is an extraordinarily catchy gem of a signature song.

After the initial warm nostalgic brass chords that hark back to golden times of sunshine along with a triumphant trumpet’s declaration of the melody, the horns pull back to make plenty of space for the vocals.  In that space, the guitar bounces the song along with a strong bass line punching underneath it all. As the melody goes on, the excitement grows and the horn lines come back in again blending their ’30s dance orchestra feel.

Swinging along with a bass line that underpins the melody perfectly, the song suddenly erupts into a higher level when the chorus kicks in with a luscious harmony and the girls split into a wider harmonic spread telling us they want to “see the whole place jumping” and that we should “get with the rhythm, you gotta learn how”. With this tune, that’s easy to do.

Then, with wonderful attention to dynamics, the song drops down so the girls are singing over a stripped-down rhythm section before the song comes back strong with the finale as the whole orchestra joins in.

It’s a vibrant mix drawing on thirties and forties harmonies, but with a modern drive that pushes the melody irresistibly along.

Thanks to Will Keel-Stocker’s close attention to the arrangement there ere are so many different textures in this song.

It leaves you knowing you’ve heard real class.   And damned catchy class at that, too!

Order your copy of The Three Belles debut Album, In Full Swing.

The Three Belles New CD “In Full Swing” Track Review: “In The Mood”

I’ve been handed an advance copy of The Three Belles’ debut album In Full Swing.

It’s so fresh the cover hasn’t yet been printed, so the piccie below only shows the disc, adorned with the unmistakably vibrant artwork of fourth Belle, Chloe Seddon.

The Three Belles present their new debut album "In Full Swing".
The Three Belles present their new debut album “In Full Swing”.

In Full Swing‘s first track is the Glenn Miller classic In The Mood. It’s a great choice for an opener. Familiar to big band and Belles fans alike, it’s also the name of the super-popular dance night they pack out when The Belles stage their fab, fun recreation of a forties dance.

While the track sounds familiar at first, kicking off with the classic Glen Miller riff,  it also has its surprises, breaking out from the smooth Miller arrangement with unexpected orchestral stabs and with the girls’ close harmonies driving the track along with boundless energy. It’s really cool to hear The Three Belles heading in a whole new direction in this track, fronting a big band as they vivaciously perform this absolute gem of a tune.

What I can say about In The Mood is that with this track the album starts as it means to go on: it’ll come as a familiar friend to forties fans and will also be a welcome bit of joy for the lover of swing and the connoisseur of great sounds. It feels modern and vintage all at once.

In The Mood’s fresh swinging sound is brought to you by The Three Belles and the WKS Studio Orchestra led by the extraordinarily gifted William Keel-Stocker, whose arrangements and energy shine throughout this lovely opener.

For Belles afficionados who know the girls’ work well, there’s more freshness and fun to come. But more of that soon!

Advance order your copy of In Full Swing!

 

The Irresistible Appeal of Sex With Strangers…

For some sexual adventurers, the idea of having sex with a stranger has a definite frisson. As one dogger puts it:

“Sex with no strings, where you’re never going to see them again, so it doesn’t matter if you’re doing a good job or a bad job – what could be better? Of course it’s addictive.”

That’s the basis of Channel 4’s “Dogging Tales” which lifts the lid on the nocturnal activities of nature lovers with something of a difference.

Terry lives out "every man's dream"in Channel 4's "Dogging Tales"
Terry lives out “every man’s dream”in Channel 4’s “Dogging Tales”

For those in love with the idea of this night time sport, who fancy the idea of stealing into the night and bumping and grinding with a “furry triangle” (“and for free!” as one dogger proudly tells us), this is a perfect test as to whether you’re the right stuff.

The peculiar glass-eyed interviewee who first graces our screens from behind his owl mask, Les, dispels any ideas that this is going to reveal a deep experience. Vapid and everyday in his flat delivery describing ploughing through hundreds of women while untold numbers do the same to his partner in an evening, the only exotic elements in the interview are embodied in his collection of tropical birds.

Of course, it’s the lack of depth that appeals to doggers – who come in the night from all angles, it appears.

“I’ve met people from all walks of life, I’ve met undertakers, solicitors, vicars – the whole lot,” the husband of one dedicated dogging wife with a porn star’s body tells us.

From saddos to addicts, to bored couples, Dogging Tales shows it how it is, but tries not to tell us who it is, adding to the weirdness by getting everyone to wear animal masks for their privacy – simultaneously hammering home that we’re in the kingdom of the beasts, here.

So many people are hunting for something to fill the void, if you will excuse the pun. And although it appears to be a sad exercise at first, don’t let that fool you. It remains one all the way through.

Compulsion, addiction, body dysmorphia and the hit of sex to briefly dispel the surrounding darkness – you are watching lonely people in the midst of existential crisis – surrounded by darkness, little figures of solipsistic, warm softness in the night. It’s philosophical. Jean-Paul Sartre could have been a dogger. He probably was.

There are hilarious moments. Tiny little pipsqueak Terry and his rotund girlfriend are strangely depressing figures pushed to experiment by his 7 day working week and her libido that has lured her to cheat on him. He announces that he entertains “every man’s dream” of wanting two women. Two weeks later, he is interviewed on his sofa again, squeezed between two massive women, a blinking schoolboy flanked by two domineering aunties.

But when he is suddenly confronted with the reality of a stranger fondling his girlfriend, that’s too much for him. He’s a little frightened fellow, who goes home in a tizzy. It’s comedic-philosophic and suddenly profound. Terry, like many men, clearly is uncomfortable when his fantasies come face-to-face with reality in a freezing cold dark wood that he’s nearly fallen over in.

Those animal masks add something else to the proceedings. They make you think of a pagan rite that has suddenly re-emerged in the emptying countryside – a kind of pointless ritual that relieves for a few minutes the emptiness of existence, rather than being an atavistic homage to the phallus/fertility-cult.

Though not entirely – because there is fertility here and something very primal and very basic. Surprisingly, despite his glass eye and adenoidal voice, Les has 18 children and, as he announces, he can’t get a condom big enough to fit.

As for an ordinary member of the public who complains about the condoms in the woods and how the doggers abuse nature, there is no straightforward message about taste and morals here, as he promptly empties his dog over the nature reserve that was previously used as a dogging spot. The countryside is there to be abused, it seems. The image of beautiful Nature fouled is too obvious to comment on.

It’s a strange world, and it’s an odd fantasy. But, if you look at these people and you find nothing peculiar in what they are doing, and you aren’t a little saddened by the way they  have come to this pass, then well done. You just might make the grade.

 

The Mythology of Margaret – Thatcher And The Myth Machine

When you hear people pronouncing vehemently on a person who came to power before they were born and speaking in terms of utter disgust and anger, you realise that you are no longer in the presence of history or debate, you are in the presence of folk mythology.

Margaret ThatcherJust so with the myriad commentators on the death of Margaret Thatcher, who have for the last 24 hours heaped imprecations and opprobrium on the name. Couple with that the jubilation at her death and the whole “Ding Dong The Witch Is Dead” attitude of some commentators who were born after she came to power and who can barely even remember her, and you realise how easy it must be for the reflex of Jihad to be instilled into the minds of the young in the Middle East.

In the folk consciousness, the myth appears to be that a cruel witch really did land in this Happy Island and lay waste to it, without any prompting whatsoever. By this reading, her intentions were utterly malign and everything she did was the spontaneous production of an evil genius. Like The Terminator or a Macchiavellian creature from Dr Who, she materialised on this planet with the sole intention of wreaking destruction, a bizarre anomaly abominating against Nature.

The vilification heaped on her from these quarters undermines the case against Thatcher. Half truth and misinformation from a generation programmed to resentment by university lecturers and resentful parents – that you can expect as part of the knockabout. It is less comical when the national newspapers also fall prey to the same instinct. Yet they do. Thus we have Owen Jones in The Independent telling us:

“We are in the midst of the third great economic collapse since the Second World War: all three have taken place since Thatcherism launched its great crusade.”

Seemingly having forgotten that in 1976 the Labour Government had to go cap-in-hand to the IMF to seek a bailout of billions to prevent the UK from sliding into bankruptcy, Jones imagines Thatcher as a crusader who laid waste to communities that were previously filled with “secure, skilled industrial jobs”.

Partially true, in that we did have skilled workers whose jobs had been secured for years by unsustainable State subsidy, it appears that Jones falls prey to the psychological effect of nostalgia when he imagines Britain prior to his birth in 1984.

Thus from Jones we imagine Paradisia Britannica in which there was no class system (“Britain was one of the most equal Western European countries before the Thatcherite project began”) – and bizarrely no racism existed. Yes, read that last one again. Apparently  Margaret Thatcher invented racism, because here’s what he says  happened under her right-to-buy scheme:

“The scarcity of housing turns communities against each other, as immigrants or anyone deemed less deserving are scapegoated.”

Britain was a big multi-cultural love-in before “Thatch”, it seems. Perhaps the National Front,  in Jones’s world, came into being under Thatcher’s leadership, even though The Battle of Lewisham which marked the start of the neo-Nazi organisation’s decline occurred 2 years before “Thatch” came to power. Jones, it appears, is a good rhetorician, but a terrible historian.

Let me just give a few fleeting impressions of the Britain that elected Thatcher to power.

In 1976, the Labour Government upon receiving their bailout from the IMF were given a series of conditions they had to meet in order to stave off bankruptcy. Sound familiar? In Britain many of us snide quite happily about Greece and Cyprus, while forgetting we were in an analogous situation only 37 years ago.

Wilson and then Callaghan tried desperately to reduce the size of the State. But the unions, who paid for the Labour Party through their membership subscriptions, weren’t having any of it. As soon as cuts were attempted, public service workers went on strike. We had a Government that was impotent in the face of the union power that was inexorably driving the country towards destruction. “We’re all in this together” might equally have been the cry back then. And what we appeared to be in was a sinking ship that the entrepreneurs and innovators, the powerhouses of wealth creation and the creatives had all abandoned to escape the 98% upper tax band.

The streets during the Winter of Discontent really were piled with rubbish, as rats gorged themselves in the streets on the detritus the unions refused to take away. I’ve heard of “refuse collection” but I never thought that was what it meant. To the massive distress of relatives, bodies went unburied because council workers wouldn’t dig graves – another inability to deal with yet more discards, it seemed, as a mythological sense of horror and helplessness built up around those times in the folk consciousness.

Not a myth, but a truth, I remember back at home my mum sitting at the table week after week going though her shopping bill. She used to weep at the prices going up. I can remember her saying to the ceiling with tears in her eyes: “That’s butter gone up another ha’penny. That’s 2 pence this month.” At its peak, inflation in the UK was running at 24.2%, a figure that seems difficult to imagine in the post-Thatcher era, because her number one priority was to stabilise inflation and keep the value in the pound.

Into this scenario steps Thatcher. In the ensuing years she did some terrible things and she did some things that would transform this country into a modern economy. She deliberately set about breaking the power of the unions, yes. But when the unions won’t even let you bury your dead granny, then there is a mythology at play here other than “Ding Dong The Witch Is Dead”.

And that’s the point that I’m making. Thatcher wasn’t Wonder Woman fighting evil union power, just as she wasn’t the Wicked Witch of the West murdering the Munchkins, either. For some reason, we are all prone (myself included, as can be seen above) to fall into half-conscious mythological constructs when we consider this extraordinary figure of female power. Perhaps it’s because we find it difficult to accept and understand her on her own terms. A powerful woman who knew her own mind. Fancy that? Much easier to call her “witch” or “goddess”.

What Thatcher did was neither all good nor or all bad. In fact those terms simply distort her and her legacy. What she was was a product of the most extraordinary times. Britain had been told quite clearly by our IMF backers that the country could not go on spending money it didn’t have. After the failings of Wilson and Callaghan, what she brought to the political scene was strict, rigid fiscal discipline. She was the housewife and dominatrix combined (see how easy the archetypes are to reference?). She looked long and hard at what was costing this country money and failing to give us influence in the world – and got rid of it.

It’s hard. It’s cold. It caused real pain and real hardship. It changed Britain forever, displacing families and destroying industry. It also freed people to think innovatively because it broke the union stranglehold on businesses, destroyed the closed shop and ended wildcat strikes.

To mythologise her and imagine her as the “dark shadow rising in the land of Mordor” is to maintain a child-like sense of good and evil that serves no purpose but to breed more ignorance and more stupidity, just as “Superthatch” is a nonsense, too.  Yet it is easy to do with her because she was such an extraordinary woman who caused such strong feelings.  In the minds of many who were her contemporaries, the emotion resonates. What chance for those born after her, who never experienced the awfulness of the years before she came to power?

With Thatch the psyche is activated. Well-established archetypes buried deep in our brains prevail.

Fairytales, after all, are so much more compelling than history.

Portsmouth Writers Are The Ones To Watch on 7th March

A new collection of work from Portsmouth writers will be launched on March 7th at The Square Tower, Old Portsmouth at 7.30pm.

“Writers To Watch” is an anthology of stories, poems and longer book extracts that was originally showcased by Portsmouth writers during the 2012 Portsmouth Bookfest.

Writers to Watch - A Collection of Writing from Portsmouth Authors
Writers to Watch – A Collection of Writing from Portsmouth Authors

Dom Kippin, Literature Development Officer for Portsmouth City Council says:

“The original idea for the 2012 Bookfest was that 20 writers should present their work for 12 minutes a piece over the length of the Bookfest. They gave their readings in libraries in Portsmouth. The quality was so high, we decided other people should know about this.”

Matt Wingett, one of the writers who appears in the book and editor of the anthology says: “Portsmouth has been the home of some great writers from the past. I am proud to be associated with new writers in the Portsmouth area who have very distinctive voices and clear visions of what they have to say. This book showcases their work.”

The launch, at the Square Tower in Old Portsmouth will have short readings from 10 contributors to the book, as well as a break for tea and a chance to chat with the authors. It starts at 7.30pm and entry is free.

For further information, go to: http://writerstowatch.eventbrite.co.uk/ and to http://www.facebook.com/events/430601837016134/433473933395591/

Portsmouth Writer’s Hub – 7th Feb 2013

An interesting writer’s hub last night at the New Theatre Royal gave me plenty to think about. The night was one in which writers were able to get their pieces of work read and performed by actors on stage in the grand old Matcham theatre.

It was fascinating to see the different approaches of different writers. I should state from the beginning that the standard of writing was high and the vision of each writer very clear. These are personal responses and include my emotional engagement with the pieces.

“Tom’s Field” by Johanna Walker was intriguing from the opening, with an increasingly poignant “slow burn” building up as it went on. The story was of an older couple apparently on a camping holiday doing the inanities that an older couple who have retired and don’t really know what to do with their time do: crosswords, tea, gossip about the neighbour’s tent.  But underneath it was a rising note of tension to do with waiting for someone. When that someone arrived, it was their hostile daughter-in-law with their grandson.

It turned out that the son, Tom, had disappeared and that the daughter-in-law blamed the parents-in-law in some way. There was a moment when I did wonder whether the grandparents were culpable, but there was nothing in the text to support this, and the weight of the grandmother’s pleading to be allowed to see her grandson along with the clear exposition of the anguish they were in didn’t help the younger woman’s case. Others saw it differently, but since we weren’t given more information about the back story, it was left wide open

The dialogue in Tom’s Field was very real, and I engaged emotionally because I cared about those two old people and the boy, while the structuring of the scene made it an absolute gem.  The simplicity with which the central conflicts were presented and played out made it extremely strong indeed.

In Jeff Page‘s piece, “Flat Above Star Food And Wine”, telling of a relationship between two firebrand radicals and their older selves, there were some interesting interactions, especially to do with the interplay of power. However, this piece was for my taste so heavily laden with concepts that I couldn’t follow the line of narrative. My feeling was that the dialogue needed serious pruning and the central conflicts and drives needed to be laid out more clearly.  I also found it peculiar that what appeared to be wealthy middle class people, one of whom was an MP, were using “fucking” and “coppers” regularly in their language. It may have been that the actors were miscast for the roles given them, but it left me unconvinced and I feel I would need to read the text to really understand it.

Rachel Besser‘s “A Little Light Breathing” was powerful in a different way, and certainly caused most discussion among the group.  Besser had responded to the Jimmy Saville scandal with a piece about a 35-year-old woman returning to her public school in order to confront the headmistress with her experience of being molested when 15. Or, at least, that’s nearly what it was about. From the woman’s description, no such assault took place.

The woman described the teacher placing his hand on her clothed “chest” to aid her breathing, and this is where it fell apart for me. A quick check of the dictionary shows the chest to be any part of the thorax – from the neck down to the diaphragm. As soon as I heard these words, I immediately understood them as meaning that the hand had been placed either on the flat area above the breasts, or close to the diaphragm beneath the breasts – a perfectly natural place to put a hand when guiding breathing exercises. Indeed, I personally had done this with a male client to whom I was giving public speaking training only the night before.

No mention was made of touching the breast at any point during the play. No tweak, no grope. Nothing.  Just a hand on the “chest”, with clothes on. I remained confused why a 35-year-old who is a successful documentary maker should be revisiting this non-event, now. I also found equating such a minor event with the experience of a girl who was raped by her father problematic: conflating two very different experiences in this way undermined the woman’s credibility.

I was surprised how many people – especially younger people – seemed to think that a touch to the chest rather than the breast constituted a sexual assault. To me, again, this consensus is a symptom of the knots our society has tied itself up in over the matter of sexuality. In schools in which teachers are simply not allowed to touch children, not allowed to give them a supportive hug when they fall down or physically move them when they play up, we have a whole generation growing up unable to gauge what constitutes “normal” contact.

As it turned out, the teacher did have a history of sexual abuse in this story, but I could just as easily have seen exactly the same exchange on stage as the start of a story with the opposite message: the teacher is hunted down and subjected to vilification when he is innocent. I found the piece deeply disturbing not because it dealt with assault, but because it dealt with non-assault. To me, it highlighted the horror men experience daily trying to negotiate the media-led world (symbolised by the documentary maker) in which paranoia and over-reaction have become the norm.

It also showed how vague language and euphemism can really muddy the water. Perhaps the young woman meant her breast. But if she did, then she should have said it. I was at a loss to know what the fuss was about as the dialogue stood.

As you can tell from my responses, there was definitely something powerful in this work, and it certainly opened a can of worms for me. Matters of detail to one side, the writer had a strong eye for a conflict, with the headmistress continually blocking the younger woman’s  attempts to express what happened to her. Besser should be commended for tackling such a controversial topic even if the execution needs further work.

The night finished with two comic pieces by Lucy Bell, “Old Birds” and “Set Menu”. Both showcased Lucy’s uncanny knack for sparkling dialogue and her naturally comic turn of phrase.

The first, a story of two “Old Birds” at a spa talking about their sex lives and spending their money how they want was hilariously funny. I enjoyed them no end, and felt a kind of delight in their company and their horrifying obsessions – one of having sex with very young men and the other of  having her hymen surgically replaced to please the “old man”. It was an exposition of some of the more colourful extremes of our glorious, brash culture, and I delighted in its crassness.

“Set Menu” was also a beauty, showing the oppression of one woman by her husband and by social and religious mores.  At no point was this story lecturing, and it was stronger for it.

In all, a really fascinating night, showing writers at different stages of development, each with very different voices.  I was impressed by the work of all the writers. A lot of thought and much creativity went into the night. I’d be interested to see a production of the work of these writers, and will keep an eye out to see how it develops.

After You’ve Gone – What Next After The Three Belles and Sing Sing Sing?

The Three Belles - fond memories...

A forlorn sight meets the eyes of the Pompeyite out for a walk on Southsea Common a few days after the circus leaves town.

A circle of yellowed grass and a few handfuls of sawdust are all that tell of the wonders that paraded, galloped, shimmered and sparkled there only days before beneath the Big Top. Standing at the ring’s centre, the roars of laughter, the gasps of amazement, bursts of applause and shouts of joy are silent; the only movement a few dried stalks in the sea breeze.

I know that departed circus feeling so well. It’s 3.45 in the morning after The Three Belles put on their show Sing Sing Sing at the New Theatre Royal in Portsmouth and my mind is still buzzing with the triumphs of the night, still blaring in the silence that has now come.

The Three Belles - fond memories...
The Three Belles – fond memories…

Fast forward two years, with a ton of other writing jobs and Belles adventures in between. The latest step in developing their original idea came in a very short time – just 6 brief weeks. In mid-December, I’d immersed myself in reading a full history of World War 2, then poring over eyewitness accounts of the Blitz and watching hours and hours of documentaries and war films. After that, we had a meeting at my house in which I presented to them a storyline for a completely revamped show. The idea was to take  elements from previous shows we’d worked on, add more depth of characterisation and more character interaction so that we could unfold a story of humour, tragedy, pathos and drama in a setting of beautiful music.

The new script proper was started on 2nd January by all of us to an agreed plan, completed on the 18th and rehearsed relentlessly for the next two weeks. I by no means wrote it all – it was a genuinely shared project with emails flying between us in a frenzy of writing activity.  We steered it along together, creating, nipping and tucking as we went, quietly focused on what we wanted, changing lines, adding scenes and working collaboratively in a way that was completely new for me.

Before then I had virtually stalked The Three Belles! I had caught them in live shows whenever I could so I could learn the rhythms of their natural speech and the qualities, pitches and timbres of their spoken voices.  Now, writing for their characters alongside them and seeing them deliver the lines we had written was utterly fascinating. There were times I got it wrong. There were times when their inventiveness amazed me. And there were times when it just felt absolutely right that a scene should be such a shape, or have such an outcome.

Those rehearsals were intensive and they were fun. The sheer hard work and professionalism of The Three Belles and of William Keel-Stocker left me feeling delighted just to know them.

Then came performance night.

There is a moment before a show when there are just hours to go and a writer has nothing left to do except sit there, hold his breath and cross his fingers while the actors and stage crew work it all out. Would it work?  Would it all come together? I felt sick with not knowing if we’d got it right. Had I got the rhythm of the scenes right, did the narrative arcs work? Would the audience like it?

The answer was a very big YES. The cast were magnificent. From the opening in which Will introduced the Belles – right the way through to the roar of the crowd at the end, the show had a vibrancy and joy that lifted people up.  It was a fantastic night.

Now I wonder what I’m going to do next? I’ve lived and breathed The Three Belles’ world for the last 6 weeks: reading, writing, sleeping, dreaming, waking and creating.

My mind’s a yellowed circle of grass. I wonder what new tent will pitch up here? What new show? What characters will dance before me in the Big Top of my mind’s eye?

I don’t know. All I know for now is that this was a fabulous night and the hard work was so very, very worth it.

As for the next project… Well. We shall see!