A winning read

The Cut Out Girl by Bart Van Es

As soon as I saw this book on the Costa Longlist I knew that I'd want to read it and finally it has been my turn to borrow it from the library.

It was worth the wait and despite beating one of my favourite reads from last year (The Skylark's War) in the Costa prize now I have read it I can't be too sad at this turn of events.

I've written before about my interest in books about the Holocaust, in fact my dissertation for my first MA was about how such an event is portrayed in children's literature. This new addition to the canon - all about how one Jewish girl was saved by various Dutch families was right up my street.

The mix of family history (it was the author's family who played a part in saving Lien), modern history and thought, detailed scholarly research and Lien's own autobiography made this book a compelling read. It was also shocking and not just because of the horror of the extermination camps.

I had the idea, mostly gained through literature admittedly, that Holland had a good reputation when it came to their actions during WW2. So many Jews fled there from Germany during the 1930s that to me it seemed like a good place for people to have fled to.
We then have the stories of the heroic people who hid Jews and worked for the Resistance. The praise heaped on those hiding the Frank family and the other similar tales lead to me to believe that while the Dutch weren't quite as helpful as the Danish in saving their Jewish population they were definitely 'good guys.'

Van Es dispels this early on:

"The Jewish wartime death rate in the Netherlands, at 80%, was more than double that of any other Western country, far higher than in France, Belgium, Italy or even Germany and Austria themselves."  p.58

Van Es, like me, was shocked to discover this, and even more so when he found out that along with various geographic and military reasons "it was the native administration that brought death to the Jews" (p. 58).

The poor behaviour of (some) Dutch people continued through the war, and is an integral part of Lien's story, as well as afterwards when survivors returned home or people emerged from hiding.

I know that history is rewritten by the victors but this new knowledge adds to the unease I felt on visiting the Anne Frank House last year. It is so easy to promote the bits of your history that you want people to concentrate on by passing over the negative aspects quickly. The suffering that all of Holland experienced in the winter of 1944/45 and then in rebuilding the country as a liberal land has airbrushed a lot of the darkness.

It is early in the year to be picking 'best books' but I have a feeling that this one will stay with me for a long time, and in many ways is a companion read to one of my top reads from a few years ago - East West Street by Philippe Sands.

Theatre 2016: Review Seven

Red Velvet, The Garrick Theatre, London. February 2016.

After the disastrous visit to the Garrick to see The Winter's Tale last November I was feeling rather anxious about having booked Mr Norfolkbookworm and I seats to see Red Velvet in the same venue.  I'd picked different seats and held by breath that it would all be okay on the night - luckily it was and we got to see a wonderful play.

I saw this for the first time just under two years ago with Rebecca and raved about it then, it was in fact my second best play of 2014, and I was so enthusiastic about it that as soon as a West End rerun was announced Mr Norfolkbookworm instantly agreed to go and see what was so special about this play when I suggested it.

I was a little nervous, could such a powerful play have the same impact on second viewing? Was it really that goo? Would himself enjoy it as much as I'd intimated? Again the answer to all of these questions really was yes.

A little of the intimacy of the smaller venue is lost but the piece itself is just as powerful and again has as much to say to the audience of 2016 as it had in the 1800s.  All of the performances were spot on and the final scene is still a devastating reminder of the racism that still pervades our society.  The audience in our performance were particularly engaged with the play for at some of the most outrageous racist lines there were audible hisses throughout the theatre and no inappropriate laughter.

I did find the actor playing Charles Kean to be less terrifying this time around (I'm sorry I don't have his name to hand, £5 for a programme was a step too far for a re-watch), he certainly seemed to be playing up the comic aspect of his character but his casual, throwaway lines and disguised racism was still present.

I'm really happy we got to see this and if anyone reading this can grab a seat before it closed I recommend doing so - Row O had excellent sightlines!

Theatre 2014: Review Nineteen

The Silver Tassie. Lyttleton Theatre at the National Theatre, London. May 2014.

After having a disappointing time at The View From the Bridge which had rave reviews I was very nervous about this play as it has had a very lukewarm reception.

Perhaps going in with lower expectations was the right thing to do as I found this play a real curiosity.  The subject matter meant that it could never be classed as enjoyable but it was challenging and thought provoking in just the right way.

It is a play in four acts, three are set in a very traditional manner and depict life in Ireland during and after World War One and the second act is set in the trenches and is as different to anything I've ever seen on stage as is imaginable.

In a nutshell Harry is our main character and in act one he is the town's sporting hero, in act two we see him at the front and then after the interval he is back in Dublin but this time in a wheelchair after being paralysed from the waist down.

The war scenes are incredible, the pyrotechnic team have a field day and actually blow up the set! The madness of the war is portrayed using song and movement as well as through the way the superior officers act.  The interval is heralded by a howitzer gun turning to face the audience and firing.  I've never wanted to grab the person sitting next to me in fear so much before.

The second half of the play almost depicts the horror of war better as it is all about the maimed survivors.  No one wanted the lads to die but no one wants to actually deal with those who survived but were disabled.

This play is a very early anti-war play, written decades before Oh! What a Lovely War and for those who say that the idea of 'lions being led by donkeys' is a new and revisionist idea should look back at this play and the date it was written.

This is certainly a play that will stay with me for a long time and makes a great foil to both War Horse and Journey's End.