Two into One – Shaftesbury Theatre, London, March 1985
Another production from the Theatre of Comedy Company, who really dominated the West End comedy scene at this time. Ray Cooney’s new comedy, directed by Ray Cooney, but this time not starring Ray Cooney, concerned a married Cabinet Minister having an affair with the married Personal Secretary to the Leader of the Opposition, You can already see where this is going. Typical Cooney fare, in other words a top quality sex farce with a cracking cast that included Michael Williams, Donald Sinden, Lionel Jeffries, Derek Royle and Barbara Murray – although for the performance I saw, Ms Murray was indisposed and we saw her understudy Ginni Barlow. Great fun!
On Your Toes – Palace Theatre, London, 16th March 1985
Rodgers and Hart’s influential 1936 musical had been given a Broadway revival in 1983 and this UK version had already been going for nine months before I got around to seeing it. Originally conceived as a vehicle for Fred Astaire, it featured three ballet scenes, including the famous Slaughter on Tenth Avenue. This was Tim Flavin’s first starring role, and my memory is that he did a terrific job. Also in the cast were greats such as Honor Blackman and the renowned dancer Doreen Wells (aka the Marchioness of Londonderry). A very successful high quality production.
Pump Boys and Dinettes – Piccadilly Theatre, London, 16th March 1985
I had no particular interest in seeing this American Country/Rock/Pop musical until a cast change meant that my heroine Lynsey de Paul joined the cast in the role of Prudie. It’s an easy-going homage to 1950s North Carolina with four guys who work at a Gas Station and two girls who work at the local diner. I remember it totally lacked any story whatsoever and was just a sequence of rather tedious songs all strung together. Despite the excellent cast that also included Kiki Dee, Paul Jones and Brian Protheroe, it left me cold.
Daisy Pulls it Off – Globe Theatre, London, 13th April 1985
Denise Deegan’s hilarious ripping yarn set in a girls’ boarding school, a parody of all those wholesome children’s stories of the early 20th century, was a delight from start to finish. It relied heavily on a terrific partnership between Gabrielle Glaister as the heroic Daisy, and Carla Mendonca as her mischievous friend Trixie. Produced, perhaps surprisingly, by Andrew Lloyd-Webber. Wizard larks!
Singin’ in the Rain – London Palladium, 7th May 1985
This show was that summer’s theatre treat from the late Dowager Mrs Chrisparkle, who was always a super fan of Tommy Steele – who gave a terrific performance in the Gene Kelly role of Don Lockwood. This was the first time that this heretofore film had been seen on stage, and I guess it was very influential for that very reason, paving the way for other similar shows in the future. A big show with a big heart. The cast also included Roy Castle, the ever-reliable Matt Zimmermann, and the fantastic Danielle Carson, who happened to be a good friend of a young lady whom I rather fancied but who never fancied me. As an aside, at a later date, I arranged to meet said young lady at the Palladium stage door where she said hi and instantly left with some other friends leaving me pretty much heartbroken. Sigh. Sorry for oversharing but that’s what I always think of when I think of this production – nothing to do with the show itself!
Up ‘n’ Under – Fortune Theatre, London, 17th May 1985
The Fortune theatre was the perfect venue for John Godber’s hilarious comedy about hopelessly unfit and useless rugby league players being trained for an important match by a female coach. Inventive, characterful, beautifully structured and performed, this deservedly won the Olivier Award for Best New Comedy that year.
Wild Honey – Lyttelton Theatre, National Theatre, London, 18th June 1985
Swiftly moving past a performance by the famous Preservation Hall Jazz Band at the Barbican Centre, with my friends Paul and Pauline who loved it but I absolutely hated it, (I’m sure they were excellent but just not my thing), we come to Michael Frayn’s translation of Chekhov’s earliest play Platonov, given the name Wild Honey. I have sparse memories of this production – so much so that when I saw Platonov as part of Chichester’s Young Chekhov season a few years ago, I was convinced that I’d never seen it before. It is a very funny play though, in a way that you would never think Chekhov could be; and going through the Frayn strainer it must have been even funnier. Platonov was played by Ian McKellen, Glagolyev by Michael Bryant, Anna Petrovna by Charlotte Cornwell, and Osip by Roger Lloyd Pack. I know that it was a very successful production, that kept getting its season extended.
Pravda – Olivier Theatre, National Theatre, London, June 1985
This was a gritty Fleet Street comedy by Howard Brenton and David Hare that should have been better than it was. A vast, rangey play with a huge and highly talented cast featuring Tim McInnerny, Basil Henson, Harriet Thorpe, Bill Nighy, and Nigel le Vaillant, with whom I was friends as university. Leading the cast was Anthony Hopkins. One of the reasons I wanted to see this play was that I had always been a fan of David Hare and wanted to know more of Howard Brenton’s work; but I’m not sure their collaboration created a play that was any better than if either one of them had written it on their own. Very enjoyable though.
Red Noses – Royal Shakespeare Company at the Barbican Theatre, London, 31st August 1985
With a nod of the head to a performance by the Moscow State Circus at the Dominion Theatre that I saw with my friends Mike and Lin (the great Oleg Popov was still in the cast), my next play was Peter Barnes’ Red Noses, a magnificent play set in the times of the Black Death, featuring a priest by name of Marcel Flote, and his team of followers (the Floties) who travelled around the plague villages of France dispensing holy assistance. The incredible cast was led by Antony Sher as Flote, with Nicholas Farrell, Pete Postlethwaite, Polly James, Nicholas Woodeson, Christopher Benjamin and a young Cathy Tyson. This won the Olivier Award for Best Play of 1985.
Gigi – Lyric Theatre, London, 23rd October 1985
I’d never seen Lerner and Loewe’s highly regarded and romantic musical film before, but it was made into a stage show in the 70s and this was the first time it had been seen on the London stage. I think I treated the Dowager Mrs Chrisparkle to her ticket for a change, and we both really enjoyed this terrific show, with a cast led by Beryl Reid and Jean-Pierre Aumont, a French actor of enormous experience – but of whom I knew nothing at the time. Further down the cast list appeared Sian Phillips, and Geoffrey Burridge whom I had briefly met after seeing him in Banana Ridge in 1976. A slightly lopsided show, in that all the great songs (Thank Heavens for Little Girls, The Night They Invented Champagne, I Remember it Well) all appear in the first Act. Great show, however.
More lockdown armchair travel and today, N is for The Netherlands, and some memories of a few visits to that delightful little country over the years. So, what do you think of, when you think of The Netherlands? Probably here:
Amsterdam, Amsterdam, de stad waar alles kan. So sang Maggie MacNeil in the 1980 Eurovision Song Contest. But The Netherlands is more than just Amsterdam. Leiden, for example, is a beautiful city – home to (amongst other things) the Windmill Museum.
You can see the workings of a windmill really close up – and it’s a fascinating experience.
When we were in the Netherlands in 2009, we also visited Rotterdam, famous for its cube houses. They’re an extraordinary feat of architecture!
We also visited The Hague, seat of government and a pretty grand place all round.
But with humour
But most people just want to see Amsterdam, and it is a pretty special place. Lots of bikes…
Did I mention the bikes?
Possibly the best way to see Amsterdam is from the canals, and on our last morning we took a canal boat ride. The things you notice…
You expect Van der Valk to walk around any corner. I’ll leave you with a look at our canal boat
Some old Delft tiles
and a pleasant drink on a street corner.
I know there’s much more to Amsterdam and the Netherlands than I’ve been able to share with you today but hopefully this gave you a little insight into what some of it is like!
Poppie Nongena – Riverside Studios, London, April 1984
This arrived at the Riverside Studios, Hammersmith with much expectation, and, although I can’t remember too many details about the show, I know I really enjoyed it and so did my friend Dave who came with me. Based on Elsa Joubert’s acclaimed novel, which has only recently also been made into a film, it tells the story of a South African woman born in the 1930s and the journey of her life. Poppie was played by Thuli Dumakude who won the Laurence Olivier Award for Actress of the Year in a New Play for this performance. The cast and crew had all come to London following the successful original production of the play in South Africa.
Mr Cinders – Fortune Theatre, London, 14th May 1984
This hugely successful little production had already been playing for over a year when I finally saw it. Written in 1928 by Clifford Grey and Greatrex Newman, with music by Vivian Ellis and Richard Myers, this is a Cinderella story with the roles reversed – Mr Cinders is the downtrodden menial help and the Prince Charming role is a young, forceful woman. This production started at the King’s Head theatre then quickly transferred to the Fortune, originally with Denis Lawson in the main role, but I saw it shortly after a cast change and Jim was played by Lionel Blair, and Jill by Carole Brooke. I remember it being absolutely charming, beautifully played, very funny and a completely winning little show. Looking back, I wonder how on earth they crammed a cast of twenty on the tiny Fortune stage. But they must have somehow!
42nd Street – Theatre Royal Drury Lane, London, 28th July 1984
I’m always keen to see the big names of musical theatre history, so I was really looking forward to seeing this giant of a show, staged at my favourite London theatre, with my friends Mike and Lin and Lin’s mum Barbara. I was so disappointed – in fact, I was really bored by it and pretty much hated it. Despite a fantastic cast led by Georgia Brown, it commits the cardinal sin that only a musical can: it tells a bit of story, then everything stops for a song. Then it picks up the story, then it stops again. There’s no flowing movement. It’s all façade and no sincerity. Happy never to see this show again!
The Ratepayers’ Iolanthe – Phoenix Theatre, London, 1st September 1984
Ned Sherrin and Alistair Beaton adapted Gilbert and Sullivan’s Iolanthe to reflect the current political wranglings between Tory PM Margaret Thatcher and the London GLC’s leadership by Labour Ken Livingstone. The result was a very clever and witty political parody and I enjoyed it a lot. Looking back, it was a tremendous cast of West End stalwarts: Gaye Brown, Lorna Dallas, David Firth, Doug Fisher, David Kernan, Michael Robbins, Gay Soper, Dudley Stevens, Sally Bradshaw, Myra Sands and Jenny Wren. Very much a thing of its time, there’s no way this would ever be revived!
Little Shop of Horrors – Comedy Theatre, London, 24th November 1984
Moving over a production of Ira Levin’s Deathtrap at the Bournemouth Playhouse starring Gareth Hunt as Sidney Bruhl (only because I’ve already mentioned the original West End production) my next show was the original London production of Howard Ashman and Alan Menken’s Little Shop of Horrors, the cult classic ridiculously funny musical with an out of control man-eating plant. This had already been running for a year when I saw it, and had undergone a change of cast with Ellen Greene leaving the role of Audrey, and now being performed by Claire Moore; and on the matinee that I saw, Audrey was performed by her understudy Susie Fenwick. The cast also included some other great performers, including Barry James, Harry Towb, David Burt and Dawn Hope. Huge fun, brilliant staging – including at the end when plant tentacles dropped down from the ceiling and brushed the heads of everyone in the stalls, much to our combined surprised horror!
Stepping Out – Duke of York’s Theatre, London, 24th November 1984
Richard Harris’ delightful and successful play about a group of women who learn to tap dance together won the Evening Standard Play of the Year award before being made into a film. Thoroughly enjoyable play, given a very good production directed by Julia McKenzie. Barbara Ferris and Diane Langton led the cast. Not much more to say, really!
Trumpets and Raspberries – Phoenix Theatre, London, 15th December 1984
After Accidental Death of an Anarchist I was a huge fan of Dario Fo and this production of his 1981 play was a must-see. Another of his left-wing farces, it starred Griff Rhys-Jones playing the dual roles of Agnelli, the head of Fiat Motors, and Antonio, who rescues Agnelli from a kidnap attempt. When Agnelli’s face is reconstructed to look like Antonio – typical farce ensues. Very funny and thoroughly enjoyable, with a great supporting cast including Gwen Taylor and Gavin Muir.
The Hired Man – Astoria Theatre, London, 2nd February 1985
Passing over a concert by Jacques Loussier at the Royal Festival Hall that I saw in January 1985 with my friends John and Paul, the next show I saw was the brilliant – and still frequently performed (I’m pleased to say) The Hired Man, Melvyn Bragg and Howard Goodall’s adaptation of Bragg’s own original book, charting the life of John and Emily, high up on some fell, Jackson, who betrayed John’s friendship by a dalliance with Emily; and, as time goes by, the adventures of May and Harry their children, culminating in Emily’s death and John’s return to working on the land. A production whose strength came from, not only the brilliance of the material but the simplicity of its staging; and I remember being completely blown away by a mesmerising performance by Paul Clarkson as John, who I always thought would go on to be the biggest thing in the West End – but it didn’t quite work out that way. Oh – and the music is sensational. One of the best shows ever.
She Stoops to Conquer – National Theatre, Lyttelton Theatre, London, February 1985.
Giles Block’s wonderful production of Oliver Goldsmith’s classic, this was a riot starring Tom Baker and Dora Bryan, Tony Haygarth and Hywel Bennett. This had enjoyed a lengthy and successful tour and would go on to appear in some more regional theatres before finally closing. Great fun!
Me and My Girl – Adelphi Theatre, London, 25th February 1985
The Dowager Mrs Chrisparkle was always a sucker for anything nostalgic about the good old days of London, so a show featuring The Lambeth Walk would always be high on her priority list. We both really enjoyed this fantastic production, which breathed new life into an old show and has kept it in the public’s wish list ever since. A great cast album too!
Heading the cast was the amazing Robert Lindsay who revealed song and dance abilities I had no idea he had, and he continues to give great performances to this day. Emma Thompson was a delightful Sally, and with a supporting cast including names like Frank Thornton, Ursula Smith, Robert Longden and Richard Caldicot, this was always going to be a great production. Low down the cast list was Rosemarie Ford, who would become better known as Bruce Forsyth’s assistant on the Generation Game (what’s on the board, Miss Ford) and who would also become known as Mrs Robert Lindsay.
As the nights begin to draw in and the thermometer starts to plummet there was still time for one last Comedy Crate night in the garden of the Black Prince before it simply gets just too damn chilly. We were accompanied by our friends Doctor Eurovision (not a real doctor) and the Duke of Dallington, who was dipping his toes into the local comedy scene for the first time. Fortunately, the entertainment was more than enough to keep us (relatively) toasty before Johnson’s curfew fell upon us all.
Our host for the night was Tom Houghton, whom we saw at Spank! last year – who knows if and when that’ll ever happen again – and he’s a very jovial chap with a slightly posh boy accent and an air of natural authority. He handled the extremely varied crowd with great aplomb and really grew into MC role as the night progressed. Great stuff.
We’d seen two of the acts before but they’re all good for a re-watch, especially post Covid-lockdown, which inspires everyone with fresh ideas. First up was Eleanor Tiernan, who has a gently Irish lilting style that can conceal a few hard-hitting punches. Her material is intelligent and quirky, with a few surreal insights about hair dryers and responding to unexpected requests in a taxi. I really enjoyed her take on the perils and pitfalls of coming out as gay at the start of the pandemic. A very enjoyable start to the show.
Next came Josh Pugh, whom I thought we had seen before, but I was wrong! He comes on, all guns blazing, with some brilliantly funny material that had me in hysterics pretty much all the way through. He had a great sequence about how far do you take philosophical responses to break-ups, plus Jesus falling back on his carpentry skills and unmentionable things with hoovers. Hilarious, inventive and very down-to-earth without being overly coarse – we really enjoyed his act and I’d be very happy to see him again.
Headlining were The Noise Next Door, an improv act whom we saw at the Leicester Comedy Festival last year when Johnny Vegas just about gave them enough time to do a bit of their act before the theatre had to close up for the night. They seek ideas and examples from the audience and then incorporate them into comedy songs and sketches – and their brains work in amazing ways! They do a great sequence where they speak alternate words (or even letters) in a foreign accent: this time it was Hungarians explaining antidisestablishmentarianism. Constantly surprising us with their improv skills it’s a great act – and I even bought a t-shirt afterwards.
Enormous fun as always. Their next show is on 5th November at the Picturedrome. Should be fireworks!
In which Hercule Poirot is brought into make sense of some strange thefts and minor acts of vandalism at a students’ hostel managed by his secretary, Miss Lemon,’s sister, Mrs Hubbard. But when the thefts turn into deaths, his job is to discover who is behind a series of very serious crimes and prevent more murders from taking place. As usual, if you haven’t read the book yet, don’t worry, I promise not to reveal whodunit!
This is the first book written by Christie to bear no dedication since Crooked House was published in 1949. However, even that book started with a foreword. This is the first book to launch straight into the first chapter without any preamble since Sparkling Cyanide in 1945. Hickory Dickory Dock was first published in the UK in six abridged instalments in John Bull magazine, from May to July 1955. In the US, the novel was first serialised in the Collier’s Weekly in three abridged instalments between October and November 1955 under the title Hickory Dickory Death. The full book was first published in the UK by Collins Crime Club on 31st October 1955, and in the US by Dodd, Mead and Company in the following month.
I had been looking forward to re-reading Hickory Dickory Dock and for the most part it did not disappoint. In many respects, it’s the classic Christie gripping read – a sequence of deaths occurring in a closed environment, and, although there’s no reason why the murderer should not be someone from outside, you really hope that it is one of the obvious suspects and not some unexpected external influence. The characterisations are good, and you really get a feel for how they behave individually. It’s very difficult – if not impossible – for the reader to ascertain the reason for all the individual thefts and minor crimes that Poirot is initially consulted on – in fact, you don’t try, you just let Poirot’s intelligence wash all over you. As far as the identity of the murderer is concerned, it’s curiously both obvious and completely obfuscated. I remember when I first read this book as a child that I guessed who had done it and was both chuffed to have got it right and disappointed not to enjoy a big surprise.
As with many of her other books, the title is taken from a nursery rhyme or well-known quotation. It’s a great title; but to be fair it’s lazily applied. For example, there’s no relevant mouse or clock involved in the story. Its only relevance is just the fact that the name of the street where the students live is Hickory Road. You can tell that the title came first. The book begins and ends with a couple of old characters whom we’ve met before. Poirot’s super-efficient secretary, Miss Lemon, appears in the first chapter, startling Poirot by making mistakes in her letters. This is not the Miss Lemon that he has become used to over the years, and nor do we expect her mind to be elsewhere when she is “on the job”. We first encountered her in Parker Pyne Investigates, as one of that super-sleuth’s industrious bank of general staff. By 1947, she has joined Poirot’s team, as we reacquaint ourselves with her in The Labours of Hercules. The opening scene, where Miss Lemon makes a (shock!) mistake with the typing, is written with heaps of humour and is a delightful and very funny introduction. At the end of the book, Poirot catches up with “old Mr Endicott” with whom he had worked on the Abernethy case. This refers to After the Funeral; but whether it’s by error or judgment Christie has slightly changed the details from that previous book, where the family’s name was spelt Abernethie and the solicitor in the case was old Mr Entwhistle. Those changes of name seem very curious to me.
There are a few other callbacks to other Christie novels in this book. For example, there is the repetition of the name Mrs Hubbard, who is Miss Lemon’s sister who works at the students’ hostel, but is also one of the American guests travelling on the Orient Express in Murder on the Orient Express. When the students are expecting the arrival of Poirot to give a lecture, one of them says “there was a man who was condemned to death for the murder of a charwoman and this detective got him off at the last moment by finding the real person” – that’s the story of Mrs McGinty’s Dead. Poirot also refers to a soap manufacturer from Liège – that’s Sir Joseph Hoggin in The Nemean Lion, part of The Labours of Hercules. Inspector Sharpe remembers Poirot from a previous case – “remember that business down at Crays Hill?” This doesn’t seem to be a definite reference to any of the other works though. Poirot himself is reminded fleetingly of his beloved Countess Vera Rossakoff – being so much more splendid a woman than these drab young students. The Countess featured most heavily in The Big Four but also appears in The Labours of Hercules and will reappear in an early short story, The Double Clue, which we won’t get to read until Poirot’s Early Cases will be published in 1974.
Apart from his rather lacking love-life, is there anything new for us to learn about Poirot in this encounter? Not much. We last saw him two years before in After the Funeral, but of course Poirot never really ages; he started off elderly in The Mysterious Affair of Styles and appears to have been frozen in time ever since! The students in Hickory Road have heard of him, of course, when Mrs Hubbard invites him to give an address, and he displays all his well-renowned oratory skills. “Poirot rose to his feet and spoke with his usual aplomb. The sound of his own voice was always pleasant to him and he spoke for three-quarters of an hour in a light and amusing fashion, recalling those of his experiences that lent themselves to an agreeable exaggeration. If he managed to suggest, in a subtle fashion, that he was, perhaps, something of a mountebank, it was not too obviously contrived.”
We do also get to meet Inspector Sharpe. Personally, I don’t warm to Inspector Sharpe much. He thinks a lot of himself, on the quiet. He’s very patronising, calling Geronimo “sonny”; he’s very ham-fisted in his attempts to be racially fair (at times in Hickory Dickory Dock, you feel like you’ve been transported to that old ITV 70s sitcom Mind Your Language, in its unsubtle treatment of foreign nationals!) Sharpe prides himself on his ability to get information out of people by conversation and by his general amiability; but I think he’s just big-headed, to be honest. However, he does get the job done and is a careful and thoughtful sleuth with good insight and ability. He doesn’t reappear in any other Christie books – and I can’t say that I’m disappointed.
In Destination Unknown, Christie uses her usual tactic of writing short chapters, or short divisions within chapters, to increase a sense of speed, excitement and tension. She does this in the opening part of the book and it works extremely well. In Hickory Dickory Dock, she uses the same technique but later in the book. At times, she sets up a veritable frenzy of short scenes, which really keeps the pace driving forwards. It’s quite filmatic (is that the word?) in style, where you see a series of unconnected events one after the other and they build up to an overall picture of many people’s activities all at the same time. It’s a very exciting technique. Another successful technique is when a character is involved in a conversation with another character but Christie doesn’t tell us who that second character is – and for good reason, because that second character is just about to murder the first. That works extremely well in this book.
Hickory Dickory Dock has a relatively high number of cast characters. Apart from Poirot and Sharpe, Miss Lemon and George, and a couple of other police/security types, all the other characters live or work at Hickory Road – and there are at least seventeen of them. So there’s a wide range of characters who have to be introduced fairly rapidly to the reader. Christie employs the device of introducing the list of petty acts of theft or vandalism early on and then having Mrs Hubbard explain which of the characters was most affected by each little crime. It’s a very clever way of introducing such a large cast of characters and associating each one directly with one aspect of the case. It also offers the reader plenty of options as to whom they think might be responsible for the crimes; however, as I mentioned earlier, although there are many possibilities, suspicion largely falls on a limited number of residents – and it’s not a hard one to guess.
Now we’ll look at some of the references in this book. I would normally start with the locations, but, almost uniquely in the Christie oeuvre, there’s only one location in this book apart from Poirot’s own apartments, and that’s the student hostel in Hickory Road. No surprise that this is a completely made up address; there is a Hickory Road in London, but it’s London, Ontario! The only other Hickory Road in the UK that I can unearth is in Lincoln. So we can assume it’s purely an invention.
There are quite a few other references though, some more intractable than others. Of Miss Lemon, Christie notes that “on questions of surmise, she was lost. Not for her the state of mind of Cortez’ men upon the peak in Darien.” That one perplexed me. But that was poor, I needed look no further than my copy of Keats. “On First Looking into Chapman’s Homer”: “I like some watcher of the skies/ When a new planet swims into his ken;/ Or like stout Cortez when with eagle eyes/ He stared at the Pacific—and all his men/ Look’d at each other with a wild surmise—/ Silent, upon a peak in Darien.” But that still doesn’t explain who Cortez was or where Darien is. I’ll hand you over to Wikipedia: “Hernán Cortés de Monroy y Pizarro Altamirano, 1st Marquess of the Valley of Oaxaca was a Spanish Conquistador who led an expedition that caused the fall of the Aztec Empire and brought large portions of what is now mainland Mexico under the rule of the King of Castile in the early 16th century.” The Darien in question is a province in Panama, at the far east of the country. To be honest, I’m not remotely surprised Miss Lemon didn’t worry about it.
“The parsley sinking into the butter on a hot day” murmurs Poirot to himself, intrigued by Miss Lemon’s lack of concentration. He explains to her that it’s a quotation from Sherlock Holmes but he doesn’t tell us more. “You will remember, Watson, how the dreadful business of the Abernetty family was first brought to my notice by the depth which the parsley had sunk into the butter upon a hot day.” This is from the short story The Adventure of the Six Napoleons from the book The Return of Sherlock Holmes. So now you know. Although I’m still not sure what relevance butter and parsley have to anything. It’s been a long time since I’ve read any Holmes.
When Poirot is presented with the list of items that have been either stolen or vandalised, he says it reminds him of a game he was forced to play by young friends during Christmas, called The Three Horned Lady. He explains that it’s a memory game and if you forget the items in your list you get awarded a horn. Then you become a one-horned lady. If you forget two more times you become a three-horned lady and you’re out. I’d never heard of this particular game, but Google shows that it was described in The Girl’s Own Book dated 1844 – I don’t know if that’s its first time in print, but that shows that it was at least 100 years old when Christie wrote about it.
Sally Finch is said to be studying in the UK on a Fulbrite (sic) scholarship – The Fulbright Programme is designed to improve intercultural relations, cultural diplomacy, and intercultural competence between the people of the United States and other countries through the exchange of persons, knowledge, and skills. It was started in 1946, with the first UK – US exchange taking place in 1948, and it still continues to this day. In a breakfast argument between Valerie and Nigel, she refers to The Oxford Group – again I point you towards Wikipedia: “The Oxford Group was a Christian organization first known as First Century Christian Fellowship founded by the American Lutheran Christian priest Frank Buchman in 1921. Buchman believed that the root of all problems were the personal problems of fear and selfishness.” Over the years the Oxford Group became Moral Re-Armament, and in 2001 became Initiatives of Change, which is still active today.
Valerie jokes that “you can’t get a man with a gun” – which of course I am sure you are aware is a song that comes from the 1946 musical Annie Get Your Gun. Mrs Nicoletis is described as being “cheese-paring”, a phrase that was new to me, meaning “extremely careful with money”. I guess the derivation is that if you pare the cheese, it goes further. Elizabeth Johnston strongly disapproves of the American “witch hunts, their hysterical spy mania, their obsession over Communism.” In 1955, America was just getting over the worst of McCarthyism. “I know two things about the horse and one of them is rather coarse”, quotes Sharpe, much to Poirot’s surprise. This amusing little rhyme was by Naomi Royde-Smith and was published in the Weekend Book of 1928. Patricia’s paperweight depicted a Lion of Lucerne – which is a rock relief in Lucerne, Switzerland, that commemorates the Swiss Guards who were massacred in 1792 during the French Revolution, when revolutionaries stormed the Tuileries Palace in Paris. It is one of the most famous monuments in Switzerland. But I’ve never seen or heard of it. And that completes the references for this book.
Regular readers will know that I like to consider any significant sums of money in Christie’s books and work out what their value would be today, just to get a feel of the range of sums that we’re looking at. Len Bateson bets Nigel Chapman £5 that he couldn’t obtain three different types of poison by three different methods. Nigel wins his bet. £5 in 1955 would be worth £91 today so that’s quite a lot of money for a spontaneous bet. Superintendent Wilding confirms that “you can pack ten or twenty thousand pounds’ worth of heroin in a very small space”. I’m no expert on the street value of heroin today, but ten to twenty thousand pounds in 1955 equates to a massive £1.8m – £3.6m today. And the five or six thousand pounds’ worth of drugs that Wilding estimates could be easily imported on one simple journey is the equivalent of £91,000 to £110,000 today. Not bad pocket money.
Now it’s time for my usual at-a-glance summary, for Hickory Dickory Dock:
Publication Details: 1955. My copy is a Fontana paperback, fifth impression, dated June 1972, with a price of 25p on the back cover. The cover illustration by Tom Adams shows a green-lit face with big staring eyes looking out at a mouse perched on top of a hand, with a dazzling jewelled ring on one of the fingers. Only the jewel has any relevance. It’s an atmospheric image but not overly appropriate!
How many pages until the first death: 55 – but there’s been plenty of other crime and investigation already by then.
Funny lines out of context: basically, to find these funny, you have to have a dirty mind. But I think I know my readers well enough.
“Sergeant Cobb said “Good morning Madam,” and produced his credentials.”
“…he now proceeded to take the drawers out and turn them upside down. He uttered an ejaculation of pleasure. “Here we are, my lad” he said.”
This book is very strong on all its supplementary characters. You’ve got the brash Valerie, the immature Nigel, the constantly perplexed Akibombo, the aggressive Colin, the assertive Elizabeth, and the ghastly Mrs Nicoletis. The dialogue between the students is lively and well captured, and you get an excellent insight into many of their characters.
Christie the Poison expert:
Christie would have dug deep to bring to mind the several poisons that are cited in this book. One death is caused by morphine tartrate, which today is used as part of the active ingredients in an injection of Cyclimorph, used to relieve moderate to severe pain. A drug named Vegenin is referred to a couple of times, which is a mixture or paracetamol, codeine and caffeine; I’d never heard of it but it is still sold as a proprietary brand today. Liquor arsenicalis, or Fowler’s Solution, is mentioned; this is a pharmacopoeial preparation made by boiling arsenious acid and carbonate of potassium in water, and then adding compound tincture of lavender. It is highly poisonous, but was very useful in small doses in certain skin diseases and in some forms of dyspepsia. Originally produced by Thomas Fowler in 1786, this has been out of regular use for a very long time.
When Nigel collects his three poisons, in addition to the morphine tartrate he also obtains hyoscine tablets and a bottle of tincture of digitalin. Hyoscine is a common drug used against motion sickness, and postoperative nausea; it can also be used in cases of irritable bowel syndrome or colic. You can buy it under the brand name Kwells. Digitalin is obtained from the foxglove and has been used in medicine for almost 250 years, primarily in cardiac treatment. However, the wrong dose can be fatal. Chandra Lal uses boracic for his eyes – from borax, this is a crystalline salt; they also refer to sulphuric acid which of course is another lethal compound used mainly in cleaning products and for industrial use. Finally there is Medinal, the first commercially available barbiturate, used as sleeping aid from 1903 until the 1950s. There is probably more poison in this book than in any other Christie!
Class/social issues of the time:
One social issue that was raised in Destination Unknown continues in this next book – that of Communism. It’s introduced gently in the early stages of the book, with just some hearsay about the causes why the police were called to the hostel in the past. “”It wouldn’t be the first time,” said Mrs Hubbard, recalling various unpleasant incidents. “There was that West Indian student who was wanted for living on immoral earning and that notorious young Communist agitator who came here under a false name…”
Sally agrees with Sharpe that there is something of which she is afraid: “The whole place […] isn’t what it seems. No, no, Inspector, I don’t mean Communists. I can see that just trembling on your lips. It’s not Communists I mean. Perhaps it isn’t even criminal.” Sharpe clearly betrayed a small sense of knee-jerk suspicion about Communism, which Sally refutes. We’ve already seen that Elizabeth strongly condemns American McCarthyism. However, when it is discovered that she is a card-carrying member of the Communist party herself, Poirot, interestingly, swings to the opposite conclusion. “I should think she was a valuable recruit to the Party […] she is a young woman of quite unusual intelligence, I should say.” Sharpe continues: “It was interesting to me […] because she has never paraded those sympathies, apparently, she’s kept very quiet about it at Hickory Road. I don’t see that it has any significance […] but it’s a thing to bear in mind.”
Jean Tomlinson, however, offers the other view. ““Of course, one isn’t surprised at anything Colin McNabb does […] I’m sure he’s an atheist and a most disbelieving, mocking, unpleasant young man. He’s rude to everybody. It’s my opinion that he’s a Communist!” “Ah!” said Inspector Sharpe. “Bad!”” Communism is clearly seen as something to be feared, an intellectual but illegal and immoral activity; but one with which, maybe, Poirot has some sympathy?
Race and xenophobia often turn up in Christie’s works but perhaps not so regularly as they do here. Having a hostel full of students of all nationalities is bound to stoke some opinions that today feel extremely uncomfortable. Fortunately, the N word never appears, but the C one (as in coloured) does on a few occasions. As part of Miss Lemon’s opening anxiety about the welfare of her sister Mrs Hubbard, she tells Poirot, “She’s always been fond of young people and good with them, and having lived in the East so long she understands racial differences and people’s susceptibilities. Because these students at the hostel are of all nationalities; mostly English, but some of them actually black, I believe.” Interestingly, she goes on to observe: “half the nurses in our hospitals seem to be black nowadays […] and I understand much pleasanter and more attentive than the English ones”, which is perhaps not an opinion that one might have expected. But this book would have coincided with the growth in the NHS and the search for nursing staff from overseas. Plus ça change…
Even Mrs Hubbard is not immune from the xenophobia. When Mrs Nicoletis accuses the Italian cook of swindling her, Mrs H steps in: “I can assure you that no foreigner is going to put anything over on me”, with an implication that foreigners are either less intelligent or less adept than the indigenous Brits and it’s a matter of honour for them to be seen as top dog. West Indian Elizabeth is given the nickname “Black Bess” by all the housemates, and it’s seen as an affectionate term – Black Bess was of course the name of Dick Turpin’s horse. Today we’d consider that potentially insensitive at the very least. Christie doesn’t help matters by giving the Italian cook and housekeeper the name Geronimo, who was originally an Apache leader, and comedy catchphrase – it’s what someone might have yelled in a 60s cartoon before jumping into the abyss. Perhaps even more extraordinary, the West African student is named Akibombo, which sounds like an onomatopoeic ridiculing of the language from that region. In his defence, at least Akibombo comes across as a relatively decent and likeable character. Christie can’t resist a little bit of fun-poking when she writes: “owing to his colour, Mr Akibombo was not able to blush, but his eyelids blinked in a discomfited manner.”
There’s a sweeping statement about the behaviour of some racial minorities; Jean again, who isn’t the most forward thinking of the students: “I think it’s much more likely to be Mr Akibombo […] Jealousy. All these coloured people are very jealous of each other and very hysterical.” Christie also puts these words in the mouth of Mr Chandra Lal: “Deliberate oppression of native races. Contempt and prejudice, colour prejudice. It is here well authenticated.” I really can’t see an Indian student of political science using the phrase “native races.” However, despite all these examples of uncomfortable use of language, I don’t think you come away from this book feeling that it’s actively racist. It’s definitely a child of its time, and Christie is exploring a number of attitudes to the coming together of people from all over the world.
One interesting little subject that rears its ugly head ever so slightly is that of pornography. Christie, with the utmost gentility, reveals that “Mr Achmed Ali has some extremely pornographic literature and postcards which explains why he went up in the air over the search”. Such postcards today would be collectors’ items. My guess is that they were probably just pin-up girls from the movies… but who knows?
The final – again minor – subject that reappears is that of inherited insanity. It’s revealed that one character has a father who is a certified patient in a Mental Hospital. Again, the detectives affirm that it probably has no bearing on the matter but that they will bear it in mind. The sins of the fathers are indeed visited upon the sons.
Classic denouement: No, not a classic in the sense of Poirot herding everyone into a room, raising the suspicion with one person only to fox us with a j’accuse of someone completely different. It is however, a very successful denouement, and possibly unique in the Christie canon; and a long one, running over several chapters. The identity of the murderer is revealed in a discussion purely between the detectives, and is then confirmed by Poirot’s discussion with a third party, an additional revelation made about another of the characters, followed by a follow-up chapter where you see everyone else’s reactions. It’s one of those denouements where you never actually get to see the culprit get accused – which is slightly disappointing.
Happy ending? Moderately, yes. An engagement is announced between two young people and a third is delighted to be asked to be Best Man.
Did the story ring true? From the plotting, the interactions between the detectives and between the suspects, there’s something about this book that feels surprisingly very realistic. So yes, I believe this story completely!
Overall satisfaction rating: Re-reading this book alerted me to one or two areas in which it disappoints you slightly; the unusual denoument, the fact that you guess whodunit (well, I did), the uncomfortable racial language. Nevertheless, there’s just something about this story that makes it a personal favourite and I thoroughly enjoyed every minute of re-reading it. So for me, it’s a 10/10.
Thanks for reading my blog of Hickory Dickory Dock and if you’ve read it too, I’d love to know what you think. Please just add a comment in the space below. Next up in the Agatha Christie Challenge is Dead Man’s Folly, and the return of both Hercule Poirot and the redoubtable Mrs Oliver, no doubt festooned with apples. I don’t have much memory of it, so I’m looking forward to tackling this one over the next few weeks. As usual, I’ll blog my thoughts about it as soon as I can. In the meantime, please read it too then we can compare notes! Happy sleuthing!
It’s been a while since I’ve done a lockdown armchair travel post – and, for most of us, we’re still not going anywhere exciting in a hurry. So M is for Malta, and a lovely sunny week in the summer of 2012 (plus a couple of old snaps from our stay in March 1993). We stayed in the resort that I think is probably the best place to be based in Malta –
St Julian’s Bay. It’s chic, elegant, close to Valletta but also a good springboard to other parts of the island. And considerably more attractive than Bugibba, which is where we stayed in 1993. You can spend hours here just drinking in the scenery.
It’s also an easy walk to Sliema, with its beautiful views overlooking Valletta.
They love a good parade in Malta. When we were there in 1993 it was carnival time, and we watched the arrival of King Carnival (to a very repetitive but upbeat pre-recorded soundtrack).
Meanwhile, in 2012, we were in St Julian’s at the same time when an effigy of the saint is paraded around the town.
To a live band accompaniment, of course.
One of my favourite places in Malta is Mosta, with its incredible Dome Church.
It’s notable for having survived a bomb attack during the Second World War when a bomb fell through the hole at the top of the Dome – but didn’t explode.
That was a lucky break. (Or God was on their side, whichever you prefer).
From Mosta it’s easy to carry on to the beautiful and blustery old capital of Mdina.
The wind really whistles around your wotsits when you’re perched up there, even in full summer.
Lion statues guard against you – or welcome you, depending on how you see yourself – as you wander round this quaint and very narrow old town.
But the views are stunning.
Of course you have to pay a visit to the modern capital, Valletta, with its steep streets.
St John’s Co-Cathedral is a must-see.
The Hospital of St John perches near an attractive outcrop
A harbour cruise is also worthwhile
This is a picture of the so-called Three Cities taken from a harbour cruise in 1993 – very moody
I’d also recommend a trip to Gozo. Full of charming sights.
Here’s stunning Ramla Bay
And lovely Xlendi
We did a boat trip to the Azure Window
It was a stunning sight
Sadly no longer there
The islands are also littered with ancient temples. Here you can see Altar Niches at the Ġgantija Temples
Here’s an interesting thing: Maltese horse races are the “trot” variety!
I could bore you with many more pictures, but that wouldn’t be fair. Here’s just a few quirky parting shots.
Mussels in Smells?
No construction worker would be seen dead without his parasol
So pleased to see Michael Gove has got a proper job
Who’s captain of this ship?
I’ll leave you with an image of me nicking some chocolate almost thirty years ago.
Let’s hope we can go on holidays safely again soon!