Family Matters is written and acted by Mary Tynan (our artistic director) and Ian Macnaughton (our Covid Lives columnist). Cinematography is by Graham Gunner, and location is courtesy of Jon Axford.
For almost a year, I have been attending free events run by My Million to One, a charity run by Alana Hurd, and backed by such big names as Richard E Grant and Jason Flemyng. I have been to Q&As with both the aforementioned actors, as well as director Hugh Woolridge. I have also been at a Mind Body Spirit workshop and a discussion about producing theatre. There have been many others that I have wanted to go to but time or circumstances prevented me, such as Tai Chi, circus skills and book publishing to name but a few. The subjects covered have been many and varied – from new age thinking to the arts to business to extreme sport and even exploration: Sir Ranulph Fiennes was one of the many wonderful people to give his time to the project. There have also been many raffles throughout the year.
The workshops and Q&As will be drawing to a close before the end of the year, but transcripts of the Q&As will remain available for members to download from the internet and there are also dozens of discounts and offers to help people achieve their dreams.
My Million to One was founded to found a home for abandoned disabled children in Southern Africa. Alana was asked to help whilst volunteering in the area, so she approached a couple of small, local charities that she knew very well and they agreed to adopt the children and give them a home. However, she has to meet two criteria in order for the arrangement to go ahead. Firstly, to find money every year to pay for the children’s home, plus all their needs, education & rehabilitation costs; and, secondly, to guarantee that the money will be provided for their lifetimes.
Alana has found a unique way to do it – By making £1,000,000 by 22nd November 2014.
When a million of you join MMTO, paying £1 (+ 11p credit card charge) each ONCE ONLY, the interest alone from the £1,000,000 will build AND fund the home for the children in Africa, never requiring further investment again. This is a brand new charity model in its own right.
A million sounds like a big number, but it’s really just 10 to the power of six, or in human terms six degrees of separation. Let me explain. I’ve paid a one-off donation of £1 to join My Million to One. If I get 10 friends to do the same, that’s 101. When each of those then gets 10 new friends to join, that’s 102, or 100. They each persuade 10 other friends – 103, who invite 10 more friends each – 104. Those friends do likewise and we have 105, and finally this last group each asks 10 friends and we have 106 or £1,000,000. Plus my original £1 of course. So in six easy steps we have created a forever home for disabled African orphans, and made an awful lot of friends.
Will you be one of my ten?
Read more about My Million to One here: http://mymilliontoone.wordpress.com/2014/03/17/my-million-to-one-the-3-whys/
or go straight ahead and join here: http://www.mymilliontoone.com/foyer
My Million to One really needs and deserves our support. Join – and tell your friends!
Phoebe Waller-Bridges’s Fleabag, from DryWrite Theatre Company at the Soho Theatre, is a confessional stream of consciousness which combines humour and pathos to elicit a powerful effect.
Fleabag tells her story in a way that is both highly entertaining and deeply thought-provoking. Despite the potentially sordid nature of her revelations, the intimacy and blunt honesty engages the audience, both male and female, drawing our reviewers and at least outwardly the majority of audience into identifying with the character and remarkably even being supportive of or at least understanding of her sometimes bizarre and certainly desperate actions. ‘Raise your hand if you would trade 5 years of your life for the so-called ‘perfect body.’ Fleabag and her sister would, but are alone in their opinion in a room of 400 women, in a moment which grabs the audience’s sympathy. She follows through on her intense yearnings with assorted characters including an elderly cockney customer at her café and a stranger met on a train. The power in her performance is apparent in the fact that we feel we understand her desperation. We don’t immediately assume she needs psychiatric care or that the elderly chap she shocks to is heading off to report her to the police. Something in her painful honesty convinces us that she will have touched them similarly. There is nothing comfortable about this piece, and yet the laughter comes from a place of genuine empathy, as does our compassion during the more poignant moments.
This is a one-woman show, which is stripped back to the bare essentials, thus allowing the smallest of movements, gestures and facial expressions to assume significance. Phoebe’s performance was matter of fact, yet moving, and her timing was excellent. She also interacted very naturally with recorded sound. The narrative flowed seamlessly from hilarious beginning to an almost tragic ending. She seemed to be hitting at aspects of the human condition that are normally hidden by social taboos, and the bravery of the performance appeared to be answered by the audience’s response. Waller-Bridges wrote and performed this; maybe that’s why she presents it with exactly the right level of blunt honesty.
Despite the previously mentioned use of recorded voices, Phoebe does voice many of the other characters in the story herself, including her sister, her father and her Australian boss, demonstrating the breadth of her acting range. The play has a multi-media aspect, utilising mobile phones in different and imaginative ways! Sound effects also add to the overall experience.
One small drawback to the evening’s entertainment was the seating at the venue. Sitting at the end of the third row, the visibility was very poor, and constantly moving about on one’s seat and moving one’s head and shoulders about can detract from the enjoyment of a performance. That said, however, this is a very good show, to be highly recommended. If you are looking for an evening of smutty talk, laughter and life affirmation, plus a hearty dose of honesty, this fits the bill.
Fleabag has now finished its run at the Soho Theatre. For more information, visit www.drywrite.com.
Mary Tynan and Ian Macnaughton