The end of an extraordinary year.
It feels very strange to be at home on New Year's Eve, and not to be working as Ada Campe tonight. I miss it.
I reach the end of 2020 with what is now a familiar sense of worry and loss - as well as a deep gratitude for the way that technology has made communication with friends, colleagues, and loved ones possible over the festive period.
Grateful to have moved house this year and had DIY as a practical distraction. Grateful to have had a relatively mild and short bout of what probably was COVID back in March. Grateful to those who reached out with freelance opportunities when so much of my work had been cancelled and income slashed. Grateful that my wife - a full-time teacher - has remained well despite the risks she has faced daily at work. Grateful for the support of colleagues and Ada Campe's wonderful agents Gag Reflex. Grateful that family and friends have been adhering to the various changing rules and restrictions. Grateful for the NHS and the hard work and dedication of all key workers.
2020 has forced me to push the boundaries of my work into new spaces. This has been a challenge, but also a good way to experiment, learn new skills and reach new audiences.
Some particular highlights include hosting Museums Showoff online, speaking at an Indonesian puppet festival about my research into Suffrage Punch and Judy shows, and being part of the British Academy Virtual Summer Showcase. It was great to be involved in the Being Human Festival again to share the amazing creative work of the Greenham Women Everywhere project, and to make new connections through online events, seminars, festivals and workshops. It's been very interesting to be part of the IPEN network and learn more about parliamentary engagement strategies around the world. My monograph came out in paperback, making it much more affordable, and it's been wonderful to be invited to speak about my research on the radio and on podcasts. I joined The Magic Circle and have also done online comedy shows and festivals as Ada Campe - feel very lucky to have had some live in person gigs too over the summer and performed two solo Ada shows despite the social distancing restrictions. Shoutout to all the producers, comics, variety and cabaret performers who have worked so hard to be creative and share work since the March shutdown and in very economically precarious circumstances.
One major highlight of 2020 has been organising suffrage play readings online. This has been a real treat and successful in ways I couldn't have imagined when setting up the first reading in August. Four months later and we've done fifteen play reading sessions, read twenty-two plays, and had forty-one performers involved so far - and the group is not only growing but keen to do more! More blog posts to follow about these readings...
Of course there has been much to be frustrated, angry and unhappy about - but I don't want to focus on that tonight. That has seemed uppermost almost every day for months - and as we all adjust to this new way of being I have to focus on the positive to move forward.
However. Whilst creating online content has meant we can reach people who wouldn't have been able to attend physical events for a variety of reasons - it's also excluded others who don't have access to the technology required. This is an ongoing concern and challenge going forward for those of us with a public engagement focus and for those who work in participatory, community based and applied contexts. 2021 will bring new ideas and technologies as well as opportunities to think about engagement and access. I hope we keep the attitude of openness that has been a welcome part of this year - and keep searching for ways to extend reach without exploiting the labour of those involved in the creative process.
Here's hoping the coming year brings a successful vaccination programme that means community spaces and the arts and performance industries can come back to life. They are much needed.
Wishing you all a safe, healthy and happy New Year and 2021!
Part of the joy of research is finding surprises in archives, newspapers, autobiographies and ephemera.
Often these stories don't fit the narrative of whatever writing task is at hand at that moment and so get forgotten, but since 2017 I've been thrilled to give many of them a wider audience on BBC Radio 3's Time Traveller series - broadcast every morning just after 10am as part of the live Essential Classics programme on Radio 3 and then subsequently collated into themes for the Time Traveller podcast. Through this series I've been able to tell over twenty stories from the past about magic, art, sport, theatre, music, dance, and of course the suffrage campaign.
It's been a couple of months now since my job at Parliament finished - and I've been meaning to write about some of the creative outputs of my time as part of the Vote 100 team. I was part of an AHRC funded project called 'What Difference Did the War Make? World War One and Votes for Women' run by the University of Lincoln and UK Parliament Vote 100 alongside the University of Plymouth. The project outputs included three panel events in Lincoln, Plymouth and London discussing not only the project topic but the work and legacy of past and present female Members of Parliament, alongside workshops for young people, and an exhibition in Parliament and online. You can see that exhibition here: www.parliament.uk
I'm not going to talk about those outputs in this blog post though. Instead this is a brief introduction to some of the other outputs involving project research that happened over the course of my year there - outputs I'm really excited about and that reached out to different audiences in different spaces. There's music, games, theatre, and sweets!
My Time Traveller piece broadcast on BBC Radio 3's Essential Classics on Thursday 8th February 2018, was entitled 'Suffragettes on the Run' - and you can listen to it here (it's 1hr and 12 minutes into the programme)
Music Hall star and Actresses' Franchise League member Marie Lloyd, no stranger to campaigning for the rights of performers within the theatrical profession, lent her support to suffrage societies by singing at the WFL’s Old World Fair at Caxton Hall in 1909 as part of a series of concerts to raise funds, and appearing in How The Vote Was Won in the same year, presumably as the character of Maudie Spark, the music hall comedienne. As an influential, wealthy and famous performer, she was able to support the sisterhood of suffragists in unique ways. One such gesture involved her allowing her theatrical hamper to be used to smuggle a militant speaker into a meeting at the London Pavilion in 1913. Marked ‘Marie Lloyd, Pavilion. Luggage in advance,’ the hamper contained the WSPU speaker Annie Kenney, who was out of prison on licence after a period of hunger-striking and subject to immediate re-arrest under the ‘Cat and Mouse’ Act if she appeared in public.
Kenney wrote about the incident in her autobiography, Memories of a Militant, recalling the workmen who unknowingly delivered her to the theatre in the hamper making ‘growls…about the weight, about actresses having no consideration for the poor men who had to carry their baggage, and so on. I was turned, toppled, banged, dropped, before one of them got me (in my hamper, of course) on to his back.’
The ruse worked, and despite the police officers stationed around the entrances to the theatre, Kenney made it inside unnoticed.
The London Pavilion was a regular site for WSPU meetings in 1913, and the building that housed the theatre is still a prominent part of Piccadilly Circus. I remember it housing waxworks music show 'Rock Circus' when I was a child and it most recently was the site of Ripley's Believe it or Not. Built in 1885, it functioned as a music hall and variety venue until 1912, when it became the home of a string of musicals. as well as mixed bills. You can see a London Pavilion programme from 1913 here - and on the bill is a performance by Graham Moffat's company of Scottish Players. Moffat was a suffragist and the author of suffrage play 'The Maid and the Magistrate', published by the AFL. His wife, actress Maggie Moffat, was the second Scottish suffragist to be imprisoned for campaigning, when she was arrested in 1907. The Glasgow WSPU delegate for the Women's Parliament in Caxton Hall, Maggie Moffat was one of fifty-three women arrested when mounted police broke up a group of women marching peacefully to the House of Commons with a resolution for the Prime Minister. She was subsequently imprisoned in the second division in Holloway.
But back to the story in question!
In groups of ten to fifteen at a time, audiences will set off on a specially prepared route through Covent Garden starting from the historic Theatre Royal Drury Lane. At intervals throughout the route, actors and actresses begin their performances as the groups draw near, engaging audience members in comic and moving moments from the struggle for Votes for Women with pieces both inspired by and directly from the plays and experiences of the Actresses’ Franchise League…
Audiences will discover theatrical Suffragette secrets they never knew Theatre Land had been keeping!
This is the transcript of my talk for BBC Radio 3's
Free Thinking Festival, recorded on the 2nd November 2014 at the Sage, Gateshead.
It was broadcast on 24th November 2014.
The broadcast version was cut, so the transcript below is the" full piece. You can hear the broadcast version by clicking on the picture above - or clicking here
Thoughts, reflections, bits of research