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Monday 12 June 2017

Little Ships

H.M.S. Hood edged slowly for’ard towards the lock at the far side of the attic floor.

“Engines full astern” bellowed the captain. “Ding ding, ding ding!” signalled the bridge to the engine room. “Boom-boom, boom-boom, boom-boom,” sounded the propeller, spit splashing from my dad’s lips like sea spray.

“Watch out!” he warned. “Don’t get caught in the propeller.” He pushed me to the floor. “Man overboard!” He trapped me in his arms and legs and started to spin me round and round. “That man’s got caught in the propeller. Boom-boom, boom-boom, boom-boom.”

“Stop engines. Ding ding, ding ding!” The ship blew five blasts, one long and four shorts: “Bvvvvvvvvvv, bvvv, bvvv, bvvv, bvvv,” to warn she was about to swing round. “Drop anchor. Diddle diddle diddle diddle diddle diddle, splshhhhhh!” I’m not sure whether the coughing that followed was supposed to be part of the sound effects or not. 

Meccano Dinky Toys Ships of the British Navy

We were playing ‘Little Ships’. Most of them were waterline models of battleships. We had H.M.S. Nelson and H.M.S. Rodney (identical sister-ships), H.M.S. Hood, a couple of submarines and three or four destroyers. Finding them again now, online, I am fairly sure they were from the pre-war Dinky Toys diecast metal set number 50: Ships of the British Navy. They were modelled to a scale of 1:1800 (150 feet to the inch), which meant they varied in size from five inches (12.75cm) down to two inches (5cm). They were of course my dad’s childhood toys and he still liked to play with them. He pushed them around the attic floor making appropriate engine and captain noises. He knew all about ships because his grandfather had been a master mariner. At first I just used to watch.

Like the ones pictured, most of the battleships had already lost their guns by the time I came along, but that did not matter because, living in a seafaring town, we pretended they were merchant ships. We had a toy dock made out of box wood, with glued-on strips to represent the quays. The lock gates were made out of strips of tin plate, and the rest of the surface was crayoned blue to represent water. It had a strange fusty smell. Ships sailed upriver from abroad, swung round on their anchors, manoeuvred through the lock and moored against the quays inside. The tiny destroyers were make-believe tugs to help the larger ships move around in tight spaces. My dad glued a wooden jetty to the attic floor so ships could tie up downriver to wait for the tide – just like at Blacktoft.

Dinky Toy scale model of the Italian liner Rex

We had just one merchant ship, the Italian liner Rex, also a pre-war Dinky model, which, together with half a destroyer, are all that now survive. Of the rest, H.M.S. Hood, emulating its real-life counterpart, was accidentally smashed to smithereens by someone’s foot. The others rattled around inside a Crawford Tartan Shortbread tin until they disintegrated and were thrown out: a pity because they are now much-in-demand collectors’ items. Even the biscuit tin is a collectors’ item. We found it with the ships in my dad’s sideboard.

Also gone are the wooden models we made ourselves. The tray-shaped softwood strips that used to hold propelling pencil leads made an ideal starting point. You pointed the bow and rounded the stern with sandpaper, glued on a matching fo’c’s’le and bridge, and cut a thin piece of dowel for the funnel. You painted the deck white, the sides black and the funnel whatever colour you wanted. It made a passable scale model merchant ship.

After seeing my dad make them I tried myself. The outcome was a poorly finished, vaguely ship-shaped blotchy white lump. I should have started with something better than a knotty strip of firewood. I proudly took my ship to show Jack who sat next to me at school. I didn’t notice the funnel had come off and fallen on the floor in front of Miss Walker’s desk.

“What’s this?” she asked the class, prodding it with the toe of her shoe, disgust in her voice. “Is it a sweet or something?” I had to go out to the front and pick it up. I would have been about seven.

Triang scale models: SS United States, RMS Aquitania, SS Varicella

Later, in the nineteen-sixties, we bought some new little ships for my brother, but at 1:1200 scale they were slightly too big. These were Triang models: M704 the S.S. United States, M705 the R.M.S. Aquitania, and M732 the Shell tanker S.S. Varicella. They had plastic masts, most now lost. These were also in the biscuit tin.

I looked up the real S.S. Varicella. She was built on Tyneside in 1959 and sailed under the Union Jack with a mainly British crew until sold in 1976 and scrapped in Taiwan in 1983. Its battered model survives it by many years. Yet it has to be said that any real ship in that condition would be towed off to the breakers yard, its place taken by a foreign-built ship, with a foreign crew, sailing under a foreign flag. Perhaps no one but oldies would want to play ‘Little Ships’ now.

“Bvvvvvvvvvv! Ding ding, ding ding! Half ahead.”

My mum gave us one of her withering looks. “How ridiculous! How could anyone have half a head?”

Monday 29 May 2017

The Play That Goes Wrong

A visit to Leeds Grand Theatre revives memories of near disaster with sound effects fifty years ago.

Last week I was at Leeds Grand Theatre & Opera House for the first time in forty-four years. It was an evocative return. We sat in the same area of the upper balcony and saw almost the same kind of show. In 1973 it was Monty Python on Tour (remembered here). This time it was The Play That Goes Wrong.

Poster: The Play That Goes Wrong

The setting is an amateur production of a nineteen-twenties murder mystery, during which just about everything that can go wrong does go wrong. Ornaments and pictures fall off the wall; a door won’t stay shut except when needed open; a platform collapses with actors on it; members of the cast are knocked senseless and have to be replaced by stage hands reading from the script, which of course gets dropped on the floor and scrambled; a corpse has to crawl off stage unnoticed after a stretcher rips apart. The production is brilliant. It had us all giggling hysterically.

At one point the characters on stage all stop and stare towards the sound technician on the balcony who is obliviously reading a book, unaware the play has reached the point where he needs to produce twelve clock chimes. The wait is interminable. And not to disappoint, when he does become aware of the cue, he fails to count the chimes correctly.

That could have been me fifty years ago. A few friends at the youth club we went to had joined a drama group and were rehearsing George Bernard Shaw’s Pygmalion. It would have been good to have had a part, but having missed out by getting involved too late, I attached myself to the support team.

There is a moment, early in Act I, when Professor Henry Higgins calls Eliza Doolittle a liar for claiming not to have enough money for her lodgings. “You said you could change half-a-crown” he reminded her. “You ought to be stuffed with nails, you ought,” Eliza replies as she flings her flower basket at his feet. “Take the whole blooming basket for sixpence.”

Just then, a church clock strikes the second quarter, and Higgins, hearing in it the voice of God rebuking him for his lack of charity, utters the words “a reminder”, throws a handful of cash into the basket, and leaves.

Grandfather clock
I don’t know why we didn’t just clang a length of pipe for the clock sound effect. I think we took the instruction “strikes the second quarter” too literally. I offered to tape-record my dad’s heirloom grandfather clock which did the full Big Ben chimes. Later we decided that “bing-bong-bing-bong, bing-bong-bing-bong” took too long, and that we would have just a single chime. But unthinkingly, the tape-recorder mindset remained.

I sat backstage at Snaith Secondary School, tape-recorder on pause, awaiting the cue. We were presenting Act I of Pygmalion in some kind of drama competition. The cue came.

“Take the whole blooming basket for sixpence,” said Eliza.

I set the tape going.

Now I truly wish I could tell you I had put the wrong tape in the machine and that Manfred Mann’s Five-Four-Three-Two-One blared out of the sound system, exactly as happens with Duran Duran in The Play That Goes Wrong. The truth is more ordinary. I had wound the tape back a little too far, so instead of producing an immediate clock chime, I watched the reels silently turning for what seemed like an eternity, while the actors on stage paused not knowing quite what to do. It might only have been two or three seconds, but it was far too long. A scared rigid Henry Higgins must have heard far more than the voice of God during the hiatus. When the bong finally came, he hurriedly squeaked “a reminder” and seemed rather too eager to get off the stage. 

It makes you appreciate just how slick the effects in The Play That Goes Wrong actually are.


The artwork for the 2017 UK tour of The Play That Goes Wrong is owned by the Mischief Theatre Company and its reproduction here is believed to be fair use, serving as a means of visual identification within this posting.