Lift-off

by Amar Patel in


A short story I wrote during one of the recent mentoring sessions with the Ministry of Stories and finished off later. The kids at Morpeth Secondary School in East London were working on their own story based in a world they had imagined together. It’s only fair that the mentors also put pen to paper. I went somewhere completely different.

Artwork generated using DALL-E and the prompt “Figurative painting of an elderly dark-skinned man flying on a wheelchair with a fire extinguisher attached to the back of it.” Or a variation of that.

Dedicated to any elders who spend far too much time in and out of the hospital and long for adventure.

***

Monty glanced at his bashed-up watch and thought … it’s now or never. No one had patrolled the corridor for at least an hour.

Even a forgetful old codger like him could tell by the pause in flat-footed steps that would echo day and night. Thuds so loud, it was as if they were made by ogres … with the toxic breath to match.

“Monty, you can do this,” he told himself, all in a dither. “Think about all those nasty things they say under their breath – waste of space, always complaining, someone put him out of his misery.”

He remembered their scolding stares, like hot pokers through the soul. The sludge they would dish out and throw in front of him, rancid and lukewarm.

This was no way for a weary pensioner to be spending his golden years, confined to this decrepit hope-drain of a ward somewhere in the barren underworld of Forelornmore. The place where they put most wrinklies out to wilt until they decompose like neglected plants.

His beloved Amina, by Monty’s side for half his life, always said, “When the time comes to go it alone, always remember how we used to throw caution to the wind. Roll the fluffy dice. Pull a sharp handbrake turn left. Suck in a big ol’gust of chance.

“Your body may not be willing, but show that body who’s boss. Promise me you won’t waste away in some dungeon like a geriatric who spends their days killing time and agonising about their health. Television on only for background noise. ‘We’ll see how it goes’ being your stock answer to everything. But it never does.”

That was the crux of it. Monty used to be one of those folk. It was Amina who changed everything, shaking up his bag of bones and helping him to find newfound awe in unexpected places. A walk in the park, a lucky dip in the market, a wrong turn on the way home.

Now look at him, stirring sludge in his rusty wheelchair. Confined to it. And popping pills he didn’t even need.

He closed his eyes and began to sift through his memories, trying to find the best of himself to feed on, as if to summon the person he needed to be once again.

Just then, a great force began to swell from his temples and along his spine, coursing and meandering down to his fingers and toes.

It felt like the most peculiar migraine, sensational and overwhelming in a good way. And like that, Monty began to make a run for it. Well, more of a stop-start roll but he soon built up momentum.

Suddenly, a door swung open at the other end of the corridor. He pulled up and shuddered. Monty recognised that sound. It was the unmistakable stomp of the nightwatchman Mr Astley – “Ghastly” to all the ‘inmates’.

He carried this ridiculously enormous truncheon and smelled of raw onion soup with flakes of mould. Catch a whiff of him and you’ll lose a year, they would say.

Monty began to panic. “What now?”, the ominous dooof-dooof getting louder and louder. Glancing to his left, he spotted a fire extinguisher hanging on the wall.

Without a thought of what could go wrong, which felt so refreshing, he clipped it on his wheelchair and squeezed hard like he was engaging a turbo boost on a racing car, only with a little more mess to clean up.

No … imagine something even bigger. It was like he was engaging thrusters on a rocket. Wheels quickly became surplus to requirements.

“How do you steer this thing?” Monty hadn’t a clue. As it happened, he was heading straight for Ghastly like a stench-seeking missile. The chief ogre snarled, smoke bellowing out of his nostrils as he advanced, undeterred.

Monty rose above him right before impact, scorching a perfect runway through his pathetic excuse for a haircut and blasting open the doors just beyond.

He soared and soared, clipping onto the wing of an airplane bound for who knows where. This mad turn of events would have been quite distressing if they weren’t so exhilarating.

Monty had this giddy smile on his face, broader than it had ever been. His body still tingling like nothing could harm him.

Thoughts of sunny beaches and far-flung islands crossed his mind. Would he make it? Could be survive? It didn’t matter. Forelornmore was squarely in the rear-view mirror now and the future gleamed with possibility for the first time in a long time.

He slipped on his old cash and carry sunglasses, sucked in a big ol’gust of chance and thought, ‘Let’s see how it goes, eh.”



Amar Patel

Crash and burn

by Amar Patel in ,


Covering three generations of family history over 164 years, The Lehman Trilogy is an epic story of vaulting ambition and mounting greed that’s conquered theatres from the Southbank to Broadway since premiering in 2018.

I had heard great things about Es Devlin’s stage design, in particular – pairing a rotating, open-office construction (all glass panels, filing boxes and little else) with a panoramic Luke Halls video projection of skylines and more behind. So I picked up a reasonably priced ticket for the current run at the Gillian Lynne Theatre.

Most of us are familiar with Lehman Brothers, once the fourth biggest bank in the US and whose collapse was integral to the 2008 financial crash. I wanted to know how we got there, and indeed how the Lehmans came to New York from Bavaria via the plantations of Alabama. So if you too are up for a dynamic history lesson with a side order of sibling rivalry then get yourself down there before June … and buckle up.

Clocking in at more than three hours, the production features a three-man cast of Nigel Lindsay (Broken Glass, The Pillowman, Four Lions), Michael Balogun (Macbeth, Barbershop Chronicles, Blue/Orange) and Hadley Fraser (Les Misérables, City of Angels, The Deep Blue Sea) who excel at playing umpteen characters in the most chameleonic and rapid-fire fashion, from stubborn or combative board types to flirtatious dames and petulant children.

Following the company’s evolution as traders in fabrics, raw cotton, coffee, cash then stocks and shares feels logical and astonishing at the same time. (We should probably add human beings to that list, says Professor Sarah Churchwell, though the play is rather silent on the matter.) The family managed, in different ways, to fulfil, flog and repackage the American Dream. One that had a familiar gleam, a sure thing-ness and insatiability about it every time.

Looking into their crystal ball, they said you too can make it, trust me, but act now or miss out. Lehman gets rich in the process and as a result, they only want to get richer while the get-rich philosophy in a capitalist society brings more fresh fish to the trawler. But there’s only one problem as Lindsay points out while in narrator mode: “What happens if they stop believing?”

Sam Mendes’ direction instills poise at certain moments and frenzy at others. I like the use of magic marker scrawlings on the glass panels to signify the changing name and focus of the company, minimising the need for too many props or complex set changes, which would break the momentum. However, more pauses to catch our breathe would have been welcomed. ⁣Make no mistake, this production is relentless and always moving.

The pianist accompanying the actors with Nick Powell’s score, Erika Gundesen, was delightful and even partook in a little comedy where the story touches on one of the brothers’ efforts to learn the instrument in a very plodding manner. It’s a rights of passage, right. Together with the sound design elements, Powell’s score manages to both evoke the world of period drama and convey that sense of dark clouds overhead. There is a foreboding in the air.

I had a fidgety, flustered woman beside me who kept complaining about all the exposition in the script, questioning the importance of relaying events in such a play-by-play manner. Clearly, she didn’t know what she was getting into. ⁣Check the running time. “Epic” is unofficially in the title.

That said, playwright Ben Power’s adaptation of the Stefano Massini novel could do with an edit. At times, it felt more like listening to an in-depth podcast series than watching a play. On the flip side, the lengthy duration will give you more opportunities to marvel at the actors – their energy, endurance and elasticity. And how the stage, the “fourth dancer” as Devlin calls it, is constructed in a minimalist way to let them shine in each of their many roles from different perspectives.

Tickets (closes 20 May)



Amar Patel

Gus Van Sant finally goes by the book

by Amar Patel in ,


Gus Van Sant is perhaps best known as the director of Oscar-winning Good Will Hunting. A crowdpleaser that focuses on the relationship between a gifted but troubled young man (Matt Damon) and his therapist (Robin Williams), and his reluctance to break free from the cocoon of small-town Southie in Boston.

But when you consider this against some of his riskier projects – Gerry with its barely speaking two-person cast wandering the desert, Elephant recalling the horror of Columbine, that shot-for-shot remake of Psycho or “forgery” as Van Sant dubs it – we get a very different picture of the filmmaker. The Art of Making Movies is as coherent and linear an appraisal of his work as you will find, and yet it also reminds us that this is someone who rarely sticks to the script or goes by the book.

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Amar Patel