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Programme includes prose and poems
written & or read by our own (our very
own):
John Bond, Julian Jones, Pat Jones,
Glenys Lawson, Chrissy Moore-Haines, Ruth Nicholls, Richard Paramor, Ed Penney, Daffni Percival, John Reece,
Evelyn Richardson, and Norma Stockford.
Review
In
September Richard Paramor arranged a programme of Members and their
Friends reading their own Writing. It was a full-house, and
even though extra chairs had been brought into the clubroom from
the theatre, they were all taken. The readers were Evelyn
Richardson, Pat and Julian Jones, Daffni Percival, Ed Penney, Glenys
Lawson, Ruth Nicholls, John Reece, Chrissy Moore-Haines and Richard
Paramor.
No-one
can deny that the quality of the writing was extremely high, and
the range of subjects wide, including John Bond’s father’s lavatory
pan, Ruth Nicholl’s two terrible but delightful kittens, John Reece’s
childhood cottage in Herefordshire, two contrasting portraits of
Barmouth Harbour by Norma Stockford, two contrasting portraits of
Paddington Station by Richard Paramor, and some memories of learning
the word bugger whilst lost in a bluebell wood.
Daffni’s
poems reflected her own affinity with the Welsh countryside and
culture, and her appreciation of the different life-moods evoked
when using different languages – Russian, French and Welsh. She
also read her Sestina (a complex poetic form) for Lloyd George and
the Men of Cwm Prysor.
Ed
Penney’s pieces were mostly skilfully worded satirical approaches
to everyday situations, with a particularly interesting almost Beckett-like
interplay between a tramp and a man in a Park.
Chrissy
Moore-Haines’ Gerrard offered an extremely tender and moving
portrayal of a man in a Swiss Clinic which proved, if proof were
needed, how competent use of simply language can produce writing
that carries immense weight.
But
it was the humorous monologues, duologues and dialogues that brought
the greatest number of tears to the eyes of the audience – tears
of sheer joy, and side-splitting laughter. Who will ever forget
Evelyn Richardson’s gaily abandoned Flibbertigibbet, Ed Penney’s
Collision Course, and Glenys Lawson’s Esprit to Corpse and Pandora’s
Box?
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