Thursday, 3 October 2019

Being Mr Wickham - Future Plans



Adrian Lukis, the definitive Mr Wickham for many TV viewers, returned to the role of George Wickham live on stage this September in Bath and  Stamford. Adrian reprised his beloved (oh go on, you know you do!) role in Being Mr Wickham, a brand new play written by Adrian and me, that lifts the sheets on exactly what Jane Austen's most roguish gent has been up to in the last thirty years.

Our sell-out audiences have loved the show and we're keen to bring it to as wide an audience as possible. Adrian and I have had such interest in Being Mr Wickham that I've established a mailing list so people who want to know more can be the first to hear news about the show or any new dates, not to mention the occasional bit of glorious Georgian news too.

If you're interested, you can sign up at the link below. We'd love to see Mr Wickham ride again... all over the world!

Sign up to the mailing list

Tuesday, 17 September 2019

Meet Mr Wickham and Me in Stamford


I’m thrilled to share the details of two forthcoming events at the Stamford Georgian Festival. I'll be giving a talk on innovation and enlightenment, followed by Adrian Lukis in Being Mr Wickham, my brand new one-man show that lifts the lid on what Jane Austen's most notorious rogue has been up since his marriage to Lydia.

Details of both events are below, we'd love you to join us!

More Than a Dream: Imagination and Innovation in the Age of Enlightenment, 29th September, Stamford Arts Centre, 5pm
In the Georgian era, knowledge and technology moved at a breathless pace. The Age of Enlightenment changed the landscape of the nation and from breathtaking architecture to intriguing experiments such as the so-called Electrical Boy, people couldn’t get enough of this brave new world.  This entertaining talk will look at invention and innovation in the Age of Enlightenment and examine what enlightenment really meant to the Georgians.

To book, click here!

Being Mr Wickham, Old Theatre Royal, Bath, 29th September, Stamford Arts Centre, 7pm - EXTREMELY LIMITED AVAILABILITY

Written off as a rake and reviled as a rogue, join George Wickham on the eve of his sixtieth birthday to discover his version of some very famous literary events. From childhood games at Pemberley to a run-in with Lord Byron, via marriage to Lydia and just a little bit of matchmaking for Elizabeth Bennet and Mr Darcy, Mr Wickham is ready to set the record straight.

This brand new production by Catherine Curzon sees Adrian Lukis return to his celebrated role as George Wickham, Jane Austen's most quintessential trouble-maker.

To book, click here! LIMITED TICKETS REMAIN

Tuesday, 3 September 2019

The Captain and the Theatrical


The Captain and the Theatrical, our Regency romcom drag extravaganza, is out to buy today!

Buy it now or read on for an extract.

When Captain Pendleton needs an emergency fiancée, who better to turn to than his male best friend? After all, for Amadeo Orsini, life’s one long, happy drag!

Captain Ambrose “Pen” Pendleton might have distinguished himself on the battlefield at Waterloo but since he’s come home to civvy street, he’s struggled to make his mark.

Pen dreams of becoming a playwright but his ambitious father has other ideas, including a trophy wife and a new job in America. If he’s to stand a hope of staying in England and pursuing his dream, Pen needs to find a fiancée fast.

Amadeo Orsini never made it as a leading man, but as a leading lady he’s the toast of the continental stage. Now Cosima is about to face her most challenging role yet, that of Captain Pendleton’s secret amour.

With the help of a talking theatrical parrot who never forgets his lines, Orsini throws on his best frock, slaps on the rouge and sets out to save Pen from the clutches of Miss Harriet Tarbottom and her scheming parents.

As friendship turns into love, will the captain be able to write a happy ending for himself and Orsini before the curtain falls?

Excerpt

Summer 1817

As Captain Ambrose Pendleton strode through the gates of Vauxhall Gardens, he didn’t see the crush of people or the lights in the trees, or hear the music. He was thinking only of seeing his friend Orsini once again.

But first there was the show, which Orsini had raved about in his letter. Cosima was from his stable of talent, and Orsini had been insistent that his friend watch the most remarkable, exquisite and well-formed young lady to grace the continental stage.

And her adorable performing parrot!

Ambrose entered the pavilion where Cosima was to perform. He took his seat and, as he waited for the show to begin, found himself enjoying the hubbub of ordinary people around him. How nice it was to be back among the throng of humanity, without the smell of gunpowder or the roar of cannon or the parade-ground shout. He glanced about the audience, wondering if his friend was there, but Orsini was nowhere to be seen.

The quartet struck a note, and applause rang through the pavilion as the velvet curtain was drawn back. The woman who emerged was tall and slender but, as Orsini had promised, well-formed. Here in a summer London, her diaphanous gown and tumbling curls transported Ambrose instantly back to his youth in Italy, to a world of classical myth and striking women, yet none that he could recall were as striking as the creature who now tripped across the stage, one slender arm outstretched for the bright blue parrot that perched upon her pale wrist, the yellow and red feathers beneath its wings and at its breast shimmering.

A woman in Roman dress and a parrot… It was very Orsini, if nothing else.

There was likely nothing else quite like it in London that night as the magnificent Cosima ran through her repertoire of silly stories—just the right side of bawdy—and Italian songs, sometimes accompanied for the sake of comedy by the bird and sometimes, for the sake of entertainment, by the quartet. Every man in the audience was enraptured by her, enchanted by each flick of her auburn curls, each sly aside, and every woman became a confidante, laughing behind ladylike hands at some wry comment from the performer on the stage.

Wherever had Orsini found her? Ambrose wondered, though he knew instinctively that some of this material must belong to his friend, for it had that same devilish mischief so beloved by Amadeo Orsini. They claimed that she was his sister but Ambrose knew better, for he had met Orsini’s numerous siblings and none of them were La Cosima.

Yet she certainly could have been family.

The show ended with rapturous applause, Cosima curtseying to her admiring audience as the parrot took a small, proper bow. Reluctantly, Ambrose followed the crowd out of the pavilion and back into the balmy summer air. He would happily have watched Cosima and her parrot perform all evening, if not for his promised reunion with Orsini.

Off he went toward the Cascade, where they had arranged to meet. But he couldn’t see Orsini anywhere. Where was the young man Ambrose remembered, always decked out in silks? He certainly would have noticed him among the crowd—unless, and Ambrose thought it most unlikely, the great impresario had adopted a somber guise.

But wouldn’t he notice Orsini’s dancing eyes, and his knowing smile, and his—what the devil?

“Now, madam, please stop that!” Ambrose laughed politely—as politely as a man could with a woman’s hands over his eyes. He could smell her perfume and feel the lace of her gloves and hear her giggle. “You must have confused me for your husband, or your sweetheart!” Or a paying customer, but Ambrose thought it best not to voice that.

“Captain Pendleton,” came the singsong-voiced reply from close to his ear. “The great Orsini begs your indulgence, but, alas, he is detained by matters feminine. He asks that I escort you to supper tonight!”

Ambrose clenched his jaw. Matters feminine? Was Orsini involved in some sort of intrigue with a lady?

And why did he recognize the woman’s voice—but of course!

“Cosima!”

He turned quickly and took her hands as they fell from his face. There she was, standing before him, the leading lady of Orsini’s show, a dazzlingly red shawl wrapped around her narrow shoulders. As much as he’d longed to see his friend, what an honor it was to be favored by such a performer—and the parrot too, who perched on her shoulder like a little admiral.

“How excited I am to make your acquaintance!” Ambrose bent to kiss her gloved hand. “I very much enjoyed your show this evening.”

The parrot administered a sharp peck to Ambrose’s hair and Cosima exclaimed, “Pagolo! Captain, forgive my little chaperone, he is so very protective of his Cosima and his applause!”

“I enjoyed your performance too, Pagolo, of course.” Ambrose grinned as he gave the imperious parrot a bow. “How very remiss that I did not congratulate you, as well.”

“His career has been long and celebrated.” Cosima tapped her finger gently against the parrot’s beak and he cocked his head to one side. “He might teach all of us how to improve our performances, he thinks! Now, sir, what delights might the gardens offer an innocent Italian girl and her escort?”

“We are stood before the marvel of the gardens, dear lady. The Cascade! Now watch carefully, for I think it is due a performance.” Ambrose offered Cosima his arm as the crowd swelled around them.

He couldn’t hold back his smile as the curtain lifted and Cosima’s elegant fingers gripped his sleeve, her mouth falling open in an expression of perfect wonder. Before them the night lit up bright as fireworks illuminated the heavens and the gasps and appreciative murmurs of the audience greeted the scene of bucolic splendor. As the artificial metallic water cascaded down, a mill wheel gently turned, the intricately rendered bridge in the center crossed first by a coach and horses, then a whole troop of soldiers, strolling ladies and ambling gentleman. It was magnificent, Ambrose knew, but he took more pleasure in his companion’s wonder than the mechanical marvel he had seen a dozen or more times.

“How is it done?” Cosima laughed, shaking her head in utter wonder. “What a thing engineering must be, it is all sorcery to me!”

Ambrose knew, but only because his father had told him, for he had an acquaintance who had known the fellow who had devised it. Even so, it still didn’t make much sense to Ambrose, which gave him pause—how would he ever follow his father’s wishes and turn industrialist now that he had left the Army?

“Cogs and wheels, I believe. Gears and pulleys.” Ambrose wafted his hand, as if it was all thoroughly familiar to him and actually rather dull. “And such things of that nature. Now, may I offer you a refreshment? You must be in need of one after your performance.”

“Cogs and wheels,” Pagolo agreed, pecking at Ambrose’s hair again. “Cogs! Wheels!”

“You should not pay him any heed.” Cosima slipped her arm opportunely through Ambrose’s own. “I confess, sir, I am of a mind to dance!”

A dance with such a lady as Cosima? Ambrose nodded, quite unable to form a coherent reply. His evening was not turning out quite as he had expected, but how lovely to lead Cosima toward the first dance floor that presented itself, and witness at close hand the glee leaping in her eyes.

“See? Is not Vauxhall Gardens the most splendid of places, Cosima? Have you ever known the like?” They stood, arms linked, on the edge of the dance floor and watched the couples in the set.

“Cogs,” decided Pagolo somewhat archly, earning himself a sharp look from his mistress. She turned her gaze back to the dancers, tapping one silk-slippered foot lightly in time to the music as she twirled an auburn curl around her finger.

With Cosima absorbed by the dancers, Ambrose had a chance to see her unobserved. She was a dazzling lady, quite unlike the women Ambrose was used to, the daughters of ambitious parents keen to see their charge wed to a captain of industry’s son. None of those girls had Cosima’s grace, or her easy elegance, and certainly none of them could have put on a show such as Cosima had that evening.

The more Ambrose looked, the more he saw something oddly familiar about her. The large hazel eyes, for one, but perhaps that was not unusual among Italians. The rather prominent nose, but it wasn’t shaped quite the same as Orsini’s. Even so…

“Gosh, I hope you shan’t think me an impertinent sort of fellow, but are you not—tell me now, if my dear friend Orsini had a sister, would she be you?”

“Alas, he does not have a sister, though the world thinks it is so.” Cosima turned her head just a little, then dropped her voice to a whisper and asked, “Wasn’t that a riotous night in Florence, Pen? You and that saucy old creature in the wimple, your eyes nearly popped out of your head!”

Ambrose Pendleton’s eyes nearly burst from their sockets again as he realized his error. Unless Cosima was an exceptional mimic, but—

“Orsini! My dear friend!” He clapped the elegant lady on the back and pumped her arm up and down with eager enthusiasm. “As I live and breathe!”

They were now the object of some amusement, for what sort of a gentleman behaved like that to—as far as anyone else knew—a lady? Ambrose felt a blush rise to his face and the parrot glared at him from his perch on Cosima’s shoulder.

“Unhand me, sir,” Orsini—for it was he—teased in that delicate voice, the pretty young man of just a few years ago barely visible beneath the construct of Cosima. “Did you really not know your old friend? I take that as an exceptionally fine review of my work!”

“I own that I did not!” Ambrose offered Cosima—Orsini—it was confusing—his arm again. “I had thought there was something familiar about Cosima. Her humor on the stage, for one. And—” Ambrose cleared his throat. He tore his gaze from his friend and watched the dancers skip by instead. “And her eyes.”

“Amadeo Orsini was simply one more pretty young actor in a sea of pretty young actors.” Cosima pouted softly. “Cosima was merely intended as a party piece and yet her star soon eclipsed mine, and I could never hold back a beautiful young lady!”

“When you wrote and told me you’d given up the stage for the role of impresario, I had no idea that—” Entranced, Ambrose found himself gazing once more into the large hazel eyes of his friend. “My goodness, but you do make a very pretty lady.”

“I have devoted myself instead to producing and managing the career of the dear, mysterious Cosima,” he told Ambrose. “It allows me to see two rather different views of the world, I can assure you!”

“I’m not surprised!” Ambrose smiled to himself, rather pleased to have Cosima on his arm. “And I wager there must be quite a fight for your hand from king and emperor alike.”

“All remain disappointed, for Cosima has yet to find the fellow who might claim her heart.” He blinked, long eyelashes batting as he teased, “Perhaps that has changed tonight, kind sir!”

Heavens, what a thought!

“That depends—I have no title, but I do have a very wealthy father!” Ambrose patted Cosima’s hand. A note of sadness came into his voice. “Alas, I believe that Father has found a wife for me—not that he has told me so, but what else can I assume when a young lady is so frequent a visitor to our house?”

“Oh!” Orsini sounded genuinely surprised by that revelation. “Tell, Pen. Who and what?”

“There is an industrialist, by the name of Mr. Tarbottom—”

Orsini opened his eyes very wide, then blinked as though he had something in his eye, the blinks growing more frequent until, with a hoot of noise, he broke into a fit of hilarity. He patted Ambrose’s arm daintily and threw back his head, his laughter filling the air as Pagolo joined in for good measure.

“Yes, really—Mr. Tarbottom.” Ambrose tried to narrow his lips in disapproval at his friend’s reaction, but the gray cloud that had followed him in recent weeks began to dissolve in the face of such unbridled laughter. “Where was I? Yes—Mr. Tarbottom is an American industrialist, and he happens to have both an open position in his mines and a daughter of marriageable age. If I know my father, he will believe my fortune is set.”

“A position?” Orsini nodded, his smile fading a little. “He must have mines in England then, yes? I am to remain here for a time, Pen, so I shall visit your mines and entertain the workers if you wish!”

“If only that were so.” Ambrose’s gaze passed slowly over the revelers and the pavilions, the garlanded trees and the musicians and dancers and tumblers. “I very much doubt I shall ever return, alas. The position Mr. Tarbottom would offer me is in America.”

Orsini’s chin dipped, his gaze falling away to the floor. He said nothing for a few moments, but gave Ambrose’s arm a little squeeze. “You must be very excited, Pen.”

Ambrose stared ahead, over the dancers, not really seeing anything, even though he knew that he was unlikely to visit Vauxhall again. He pursed his lips and shook his head.

“If Waterloo wasn’t bad enough—I only want some peace and blasted quiet! Father is so desperate to impress the Tarbottoms, and he cornered me, saying ‘Little Harriet has taken quite a shine to you, Amby! You could do with a wife, and think of all the money I’ve spent to raise you as a gentleman, and don’t think I’ll let you sit about here on the fruits of my labors. I don’t care what you got up to at Waterloo, you’re not a hero now!’ Father’s intentions are all too obvious, do you not think?”

“I am so very sorry, Pen, for I know how you dreamed of the theater, and I had never thought a fellow like you might be on the battlefield, let alone in industry.” Orsini sighed and stroked his finger down Pagolo’s feathered back. “Can you not say no, thank you, Father, for the theater life is the one for me?”

“How can I not accept?” Ambrose gaped at his friend in surprise. No matter how odious the proposition was, the thought of rebelling against his father’s will had to be dismissed. “Father decided my profession for me while I was yet in my cradle. I owe him my duty as his son—I cannot refuse his wishes.”


Wednesday, 21 August 2019

An Inside Look at Being Mr Wickham

 We’re talking Pride and Prejudice this week with a behind the scenes look at Being Mr Wickham, my brand new, sold out theatre show in which Adrian Lukis returns to his celebrated role as Jane Austen’s most rakish rogue. Plus naked Darcy, scandalous queens and Mr Bennet throws some shade. With thrilling Captivating Captains news hot off the press. Only in Gin & Gentlemen! 

Sunday, 4 August 2019

Bampton Classical Opera - Bride & Gloom

It’s time to get your opera on!

—oOo—

BAMPTON CLASSICAL OPERA 2019

STEPHEN STORACE: Bride & Gloom (Gli sposi malcontenti)

The Orangery Theatre, Westonbirt School, Glos: Monday 26 August
St John’s Smith Square, London: Tuesday 17 September 

Libretto: Gaetano Brunati
English translation: Brian Trowell
Director/Designer: Jeremy Gray
Conductor: Anthony Kraus
Orchestra of Bampton Classical Opera (Westonbirt)
CHROMA (St John’s Smith Square)

“…a charmer….Storace’s sparkling score makes one regret that relatively little of his music has survived.”  Inge Kjemtrup, thestage.co.uk

This summer Bampton Classical Opera presents Stephen Storace’s lively two-act comedy of marital manners Gli sposi malcontenti (1785), under the title Bride & Gloom. The company has already staged Storace’s other Viennese opera Gli equivoci (The Comedy of Errors) with great success in 2000-1.  The production is designed and directed by Jeremy Gray, conducted by Anthony Kraus and is sung in English.

Stephen Storace is an undeservedly neglected English 18th-century composer, whose hugely successful later London operas such as The Pirates helped establish a trend which eventually led to Gilbert and Sullivan.  Gli sposi malcontenti, his first opera, was commissioned in Vienna in 1785 by the Emperor Joseph II, and creates a web of amorous intrigue, lies and slander, expressed in music of dynamic orchestral colour and driving energy.  The commission partly came about because Joseph was infatuated with Stephen’s sister, the legendary soprano Nancy (Anna Selina) Storace. Unfortunately on the opening night Nancy lost her voice, and retired from the stage for several months. She was full of remorse for letting her brother down, although in the end the opera itself was well received.

Synopsis
Newly-wed Casimiro and Eginia hardly seem to be enjoying a state of marital bliss.  Why does Eginia sleep on her own, and why is her ex, Artidoro, still hanging around?  He now seems to have an eye for the undoubted charms of Casimiro’s sister, Enrichetta – but she’s also attracted the lustful interest of dull and dusty Dr Valente, a man likely to turn nasty if thwarted…

Bampton Classical Opera is delighted that Gavan Ring joins the company for Bride & Gloom, having previously performed for Bampton in Mozart’s La finta semplice.  These are among Gavan’s first performances as a tenor, having already enjoyed a highly successful career as a baritone, including appearances with Glyndebourne, Garsington and Wexford. The talented team of singers assembled includes both company debuts and some familiar faces.

“Highly engaging………admirers of (Mozart) really should make every effort to take up this rare chance to deepen their appreciation of the context in which he worked.”  Curtis Rogers, Classicalsource.com

Stephen Storace’s Gli equivoci (The Comedy of Errors), one of the most significant of the many little-known operas staged by Bampton Classical Opera over the past 25 years, proved to be a revelation. The Times commented: “the forgotten Storace, like steak-and-kidney pudding, is a victim of the inverted snobbery of the English” and praised the “brilliantly handled” extended ensemble finales, the “deft and delicate scoring” and the surprising maturity of this 24-year-old English composer, collaborating at that time in Vienna with Lorenzo da Ponte. 

A year before Gli equivoci, in 1785, Stephen was commissioned by Emperor Joseph II to produce his first opera, Gli sposi malcontenti. The commission undoubtedly stemmed from the Emperor’s infatuation with Stephen’s sister, Nancy Storace, then engaged as prima donna in the imperial Viennese Italian opera.  Despite little experience as a composer, Stephen had absorbed many of the latest musical trends through his recent travels in Italy with his sister, and in Vienna through his close friendship, and perhaps study, with Mozart.  Although the first performance of Sposi was hardly smooth – Nancy lost her voice during the first act and retired from the stage for several months – it nevertheless entered the repertory of the Burgtheater and was subsequently well-received in Prague, Leipzig, Vienna and Paris.  

As with Salieri’s La scuola de’ gelosi and La grotta di Trofonio, both performed by Bampton in recent years, Gli sposi malcontenti was one of a web of rival operas which had their direct effect on Mozart and Da Ponte in the creation of Figaro and Così fan tutte– a frenetic quintet involving hiding on and behind a sofa and a whirlwind finale of mistaken identities in the garden suggest that Storace’s librettist Gaetano Brunati knew Beaumarchais’ then-banned play Le mariage de Figaro.

The plot concerns an unhappy and listless marriage between Casimiro and Eginia, and the unsettling presence of past lovers and would-be rivals.  Brunati’s libretto is sharp and the pacing dramatic and varied. Storace’s operatic music is characterised by a keen understanding of ensemble, often piling in the voices in ever-changing textures, orchestration and tempi.  It is in fact a refined and luscious Viennese concoction, more Sachertorte mit Schlag than steak-and-kidney pudding.

Gli sposi malcontenti was never performed in England in the 18th or 19th centuries, although Storace reused much of its music in his varied English-language operas in London.  The English premiere was given by Opera Viva at King’s College in London in 1985, but it has not been performed since.

Bampton Classical Opera enjoys a national reputation for its passionate and enlightened discoveries of rare late 18th-century operas, sung in lively new translations.  Amongst these have been UK premières of Bertoni Orfeo, Isouard Cendrillon, Marcos Portugal The Marriage of Figaro, Paer Leonora, Benda Romeo and Juliet, Gluck Il Parnaso confuso, Philemon and Baucis and Salieri Falstaff.   The company works with some of the finest emerging young professional singers and stages productions in rural venues in Oxfordshire and Gloucestershire as well as regularly in London at St John’s Smith Square.  Other significant venues and festivals have included Wigmore Hall and Purcell Room, Buxton Festival, Cheltenham Festival and Theatre Royal Bath. Bampton Classical Opera encourages a relaxed and welcoming atmosphere, and with ticket prices being excellent value, their performances provide an ideal introduction to anyone unaccustomed to opera.

Bride & Gloom performances, with free pre-performance talks:​​      
The Orangery Theatre, Westonbirt School, near Tetbury, Gloucestershire GL8 8QG
5.00 pm Monday 26 August

St John’s Smith Square, London SW1P 3HA
7.00 pm Tuesday 17 September

Booking Information, Bampton and Westonbirt
Tickets: £38 (under 18: half-price)
​​​​​​​​​​​​
By Telephone: 01993 851142

By Post: Bampton Classical Opera, 1 Deanery Court, Broad Street, Bampton, OX18 2LY

Booking information, St John’s Smith Square
Tickets: £18, £28, £38.  Booking opens in July
By Telephone: 020 7222 1061
By Post: St John’s Smith Square, London SW1P 3HA

Monday, 29 July 2019

Being Mr Wickham - SOLD OUT!

I'm absolutely delighted to say that Being Mr Wickham, starring Adrian Lukis, is now completely sold out at Bath! You can imagine how thrilled I am that my very first theatrical show is a sellout, but luckily there are still a handful of tickets left at Stamford. Be quick though, they're flying out the door!
https://www.stamfordartscentre.com/whats-on/all-shows/being-mr-wickham

"Written off as a rake and reviled as a rogue, join George Wickham on the eve of his sixtieth birthday to discover his version of some very famous literary events. From childhood games at Pemberley to a run-in with Lord Byron, via marriage to Lydia and just a little bit of matchmaking for Elizabeth Bennet and Mr Darcy, Mr Wickham is ready to set the record straight."


Sunday, 14 July 2019

The Captivating Captains

As we prepare for the forthcoming release of our Regency romcom, The Captain and the Theatrical, what better time to get to know some other captivating captains?
For a limited time, you can snag the swoonsome first book in the series, The Captain and the Cavalry Trooper for just 99c/p. Follow the links below to get started… the captains are waiting!

Monday, 1 July 2019

Being Mr Wickham: On Sale Now

Booking is now open for Being Mr Wickham, starring Adrian Lukis, at Bath's Masonic Hall on 15th September! I'm so excited to have written this show, which sees Adrian return to the role of Mr Wickham as Austen's most infamous rogue looks back at his life on the eve of his 60th birthday.

Tickets are already selling fast!


Click this link to book:
https://bathboxoffice.org.uk/whatson/being-mr-wickham-premier-production/180410/

If you'd prefer to catch the show at Stamford, you can do so by clicking here:
https://www.stamfordartscentre.com/whats-on/all-shows/being-mr-wickham

"Written off as a rake and reviled as a rogue, join George Wickham on the eve of his sixtieth birthday to discover his version of some very famous literary events. From childhood games at Pemberley to a run-in with Lord Byron, via marriage to Lydia and just a little bit of matchmaking for Elizabeth Bennet and Mr Darcy, Mr Wickham is ready to set the record straight."


Monday, 10 June 2019

Being Mr Wickham

I'm thrilled to finally announce my super secret project. On 15th September Bath's fabulous Jane Austen Festival will host the premier of Being Mr Wickham, my theatrical writing debut, starring Adrian Lukis (who else!?) as Jane Austen's quintessential rogue. 

Mr Wickham may be a little older, but is he any wiser?

"Written off as a rake and reviled as a rogue, join George Wickham on the eve of his sixtieth birthday to discover his version of some very famous literary events. From childhood games at Pemberley to a run-in with Lord Byron, via marriage to Lydia and just a little bit of matchmaking for Elizabeth Bennet and Mr Darcy, Mr Wickham is ready to set the record straight."

The performance will be followed by a Q&A with Adrian and me. 

This is an absolute dream come true moment for me - I'm still pinching myself!

Tickets go on sale soon, but I couldn't keep it to myself a moment longer!

You can also catch the show as the finale to Stamford Georgian Festival on 29th September. Click here to book!

Thursday, 30 May 2019

Dear Jane

It's my pleasure to welcome Allie Cresswell, who's visiting the salon to consider the matter of history in the works of Jane Austen.


---oOo---

Jane Austen’s novels are loved today, in part, for the sense of history they evoke; those elegant drawing rooms and the graceful life-style of Regency ladies within them - such a far cry from our stressed and utilitarian, tech-driven world. The courtly, restrained attentions of well-dressed gentlemen - the suppressed passion of a clasped waist or a kissed hand, or even the meaningful glance across a crowded ballroom, is so much more romantic than the sex-obsessed world of today.
The erudite conversation; wots nt 2 luv?  
And yet when Jane Austen wrote her novels they were not historical, they were contemporary. She described the times in which she lived; her comments - on behaviour, morals and manners - were on her own here and now.
In fact there is little actual history in any of her books. With one notable exception she makes no reference to politics, real-life figures or tangible events and so it is practically impossible to place her novels in any exact time frame. Persuasionis the exception. Captain Wentworth mentions the year in which he took his first captaincy and Admiral Croft brings the news of Napoleon’s escape from Elba. It is hard to know why she tended to avoid real-life references; perhaps she thought them irrelevant or thought she could not mention them without making comment which might alienate some readers. More likely, politics and world affairs were considered no business for women’s minds, a state of affairs upon which, we can be sure, Miss Austen would, privately, have had much to say.
There is no clue as to when the events in Emma take place but as I set about writing the stories of Mrs Bates, her daughtersand granddaughter in my Highbury Trilogy I felt I needed to place them accurately in time. Lieutenant - later Captain - Weston is active in the militia in the first two books of the trilogy; what conflicts at home and abroad might he have been embroiled in? Well, of course, it depends upon exactlywhen we’re talking about. Angus Fairfax (Jane’s father) enlists as a surgeon; where might he have been posted? It begs the same question. Placing the books in world and British history posed further questions - about social history, for instance; In Mrs Bates of Highbury Mrs Bates is widowed and finds herself penniless. How much - or, how little - money did a person need in 1780s England to survive? The answer, I discovered, was around £50. The Other Miss Batesis set in Brighton - what was it like there, in 1781? I found that it was in the very infancy of its popularity, the health-giving effects of sea-bathing (and seawater drinking) having only just been identified. It would be some years before the Prince Regent made the place into the hub of fashionable society that it would later become.  In Dear JaneFrank Churchill, denied university by his clinging aunt, sets out on a Grand Tour. But my timeline had brought me to around 1814 when the Napoleonic war was still being fought. Travel to Europe would have been impossible so poor Frank has to make do with the Scottish highlands and islands instead.
Jane Austen’s books do seem to take place in something of a bubble; the outside world barely impinges. The drawing rooms and shrubberies, card-parties and country dances are their own world, albeit imbued with exacting standards of behaviour and clearly-defined strata of social hierarchy. At the time at which she was writing their mores would have been well understood and perhaps needed no explanation. To us, however, two hundred years later, they need placing in some wider context and to me, it seemed important to get the details right. Not just because there will inevitably be readers who will be offended by historical inaccuracies and in a hurry to point them out to me, but for the integrity of the books themselves. Any jarring inaccuracies would spoil the illusion which fiction creates. At the same time I had to be true to Miss Austen’s world and to her characters; to tamper with them would have been out of the question. They, for me, provide history of equal importance to any real-world events which may have been taking place just off-stage and I was determined to reflect and incorporate them with the same faithfulness. How successful was I? Well, you, dear reader, must be the judge.
Giveaway
To be in with a chance of winning a copy of Dear Jane, simply click on the link below!

http://www.rafflecopter.com/rafl/display/908009304/
About the Author
Allie Cresswell was born in Stockport, UK and began writing fiction as soon as she could hold a pencil.

She did a BA in English Literature at Birmingham University and an MA at Queen Mary College, London.

She has been a print-buyer, a pub landlady, a book-keeper, run a B & B and a group of boutique holiday cottages. Nowadays Allie writes full time having retired from teaching literature to lifelong learners. Most recently she has been working on her Highbury trilogy, books inspired by Jane Austen’s Emma.

She has two grown-up children, two granddaughters and two grandsons, is married to Tim and lives in Cumbria, NW England.

You can contact her via her website at www.allie-cresswell.com or find her on Facebook.

About the Book
The final instalment of the Highbury trilogy, Dear Jane narrates the history of Jane Fairfax, recounting the events hinted at but never actually described in Jane Austen’s Emma.

Orphaned Jane seems likely to be brought up in parochial Highbury until adoption by her papa’s old friend Colonel Campbell opens to her all the excitement and opportunities of London. The velvet path of her early years is finite, however and tarnished by the knowledge that she must earn her own independence one day.

Frank Weston is also transplanted from Highbury, adopted as heir to the wealthy Churchills and taken to their drear and inhospitable Yorkshire estate. The glimmer of the prize which will one day be his is all but obliterated by the stony path he must walk to claim it.

Their paths meet at Weymouth, and readers of Emma will be familiar with the finale of Jane and Frank’s story. Dear Jane pulls back the veil which Jane Austen drew over their early lives, their meeting in Weymouth and the agony of their secret engagement.

Monday, 6 May 2019

Jane Austen at Gunnersbury Park

Join me for a wonderful night in London!


Jane Austen and the King of Bling, Gunnersbury Park, 4th June 2019
7pm-9pm
£10 (including a glass of wine)

This lively talk delves into the sometimes shocking, always scandalous, private life of ‘the first gentleman of England’. It suggests why Austen boldly declared she ‘hated’ this monarch even after she was his honoured guest at London’s most prestigious address. The other side to this saucy Sovereign was a man who championed Jane Austen and her works which secured the Regent his very own dedication from the author he adored.

To book, click here!

Monday, 29 April 2019

The Scandal of George III’s Court - Paperback Release



It's no secret that I love a good scandal, so I'm thrilled to announce that my latest non-fiction release, The Scandal of George III's Court, is available in paperback now. You can but it from Pen & Sword at the link below, or your favourite bookseller!




Buy the paperback from Pen & Sword 

From Windsor to Weymouth, the shadow of scandal was never too far from the walls of the House of Hanover. Did a fearsome duke really commit murder or a royal mistress sell commissions to the highest bidders, and what was the truth behind George III's supposed secret marriage to a pretty Quaker?

With everything from illegitimate children to illegal marriages, dead valets and equerries sneaking about the palace by candlelight, these eyebrow-raising tales from the reign of George III prove that the highest of births is no guarantee of good behaviour. Prepare to meet some shocking ladies, some shameless gentlemen and some politicians who really should know better.

So tighten your stays, hoist up your breeches and prepare for a gallop through some of the most shocking royal scandals from the court of George III's court. You'll never look at a king in the same way again...

Buy it now from Amazon

Tuesday, 23 April 2019

The Ghost Garden

I am so excited to announce the release in paperback and ebook of The Ghost Garden, a brand new, 1920’s-set ghost story written by me and Eleanor Harkstead. The Ghost Garden is the first book in our new series, The de Chastelaine Chronicles, and we hope you enjoy it!

You can hear more about the book and how it came to be in the latest episode of our podcast, Gin & Gentlemen!

The Ghost Garden
Within the tangled vines of a forgotten garden, can a blossoming new love overcome an ancient evil that threatens both the living and the dead?

After losing her brother in the trenches of the Great War, Cecily James is a prisoner of Whitmore Hall, the respected but remote boys’ school where her brutish husband reigns as headmaster. With its forsaken walled garden, a hauntingly tragic past, and midnight footsteps heard from an unoccupied clocktower, it is a place where the dead are rumored to walk. 

Whitmore Hall is a place filled with mysteries and as a ghost garden emerges from the sun-bleached soil, long-buried secrets cry out to be told. 

When new teacher Raf de Chastelaine blunders into an impromptu seance, Cecily finds an unlikely and eccentric ally. In a world of discipline and respectability, barefoot Raf is unlike any teacher Cecily has ever met. With his tales of the Carpathian mountains and a love of midnight gardening, he shakes Whitmore Hall to its foundations. Could there be more to Raf than meets the eye? And as he and Cecily realise that their feelings run deeper than friendship, dare they dream of a world beyond Whitmore Hall?

As Cecily and Raf team up to unite long-dead lovers and do battle with an ancient evil that has long haunted Whitmore Hall, Cecily finds her chance of happiness threatened by her tyrannical husband. But is the controlling headmaster acting of his own free will, or is he the puppet of a malevolent power from beyond the grave?