Drawing: Laura Rogers and Sally Messham in Tipping The Velvet

Tipping The Velvet

The Dictionary of Vulgar Tongue is not a reference source I turn to often, especially the original 1811 edition. In fact, this is my first foray into such an esteemed piece of literature. I did so to look up the meaning, via google, since I don’t happen to own a copy, of the term, ‘Tipping the velvet’. It’s a Victorian euphemism for ‘cunnilingus’, oral sex in layman’s terms. It’s also the title for Sara Waters’ audacious bestselling debut novel, which became a TV series and now a new stage adaption by Laura Wade.

Directed by Lyndsey Turner, Tipping The Velvet completed it’s World Premiere at London’s Lyric Hammersmith theatre this month and is currently at the Lyceum in Edinburgh as part of the theatre’s 50th Anniversary season. The ‘Tipping’ tale is a Victorian coming of age story, when young Kentish girl and theatre-obsessed Nancy Astley falls in love with male impersonator Kitty Butler and follows her to London, “where unimaginable adventures await.” The lovers become a fully-trousered double-act in the West End, but as the narrator suggests, “you might not get the ending you paid for…but you’ll leave grossly entertained nevertheless.” Needless to say the publicity material does have the warning, ‘This show contains scenes of a sexual nature.’

Making her professional debut in the role of the ‘giddy with desire and hungry for experience’ Nan is Sally Messham and Laura Rogers plays Kitty. Both received critical plaudits and both kindly signed and returned my sketch, which contains a scene of an about to happen sexual nature.

 

Drawing: Iana Salenko, Prima Ballerina

Iana Salenko

I really enjoy drawing dancers.The lines become more energetic and it certainly gives the 4B pencil are good workout. Ballet adds grace to the rendering. My latest sketch is Ukrainian prima ballerina Iana Salenko, Principal with the Staatsballet Berlin and Guest Artist with the Royal Ballet since performing the role of Kitiri in Carlo Acosta’s Don Quixote in 2013. She returns to Covent Garden this month as Juliet in Kenneth MacMillian’s groundbreaking production of Romeo and Juliet. First staged at the Royal Opera House in 1965, it has been at the heart of Royal Ballet’s repertory ever since. On opening night fifty years ago, Rudolf Nureyev and Margot Fonteyn performed the title roles, receiving a rapturous reception with 43 curtain calls during 40 minutes of applause.

Iana will also join Principal Steven McRae this month in Tchaikovsky Pas de deus and The Nutcracker over the Christmas season. I was very pleased to receive my sketch, signed by Iana after I left it at the Opera House. 

Drawing: The All Blacks

all blacks team sigs
As a proud but nomadic New Zealander living in the UK I couldn’t let this moment go by  without some homage to our mighty All Blacks, winning the Rugby World Cup for the third time and the first team to retain the Webb Ellis Cup, beating our noisy neighbours Australia, 34-17 in the final at Twickenham on Saturday.

Since becoming the World Champions in Auckland in 2011, they have only had three loses in 53 matches, holding the Number 1 ranking for the past decade. The world’s media have labelled them the greatest rugby team of all time, some saying the greatest team in the history of sport. “Phenomenal doesn’t do them justice,” one scribe wrote.

Rightly so, they also picked up the Best Team trophy at the annual World Rugby Awards for the sixth successive with legendary playmaker Dan Carter winning Best Player after his mercurial Final and final performance, scoring 19 points with the boot, a fitting end to his unparalleled career.

I drew this image of the Cup with the All Blacks iconic silver fern, leaving space for the team – 31 of them – to hopefully sign… and hopefully the winning team. They arrived at the Tower of London for the official welcome to the tournament six weeks ago. Given the history of the venue, some thought the hosts may have had other ideas.

Knowing the chances of me obtaining the entire team at that event were less than minimal, I delivered it to the AB’s long-time manager Darren Shand, who had helped me in the past with previous requests and as sure as God made little green apples (and the All Blacks) he got the job done, like his team in the World Cup. I just had to mention that again.

Drawing: Number 1, The Plaza at The Soho Theatre

1 The Plaza

Shit happens… particularly at Number 1, The Plaza, a luxury London apartment and the title of an unconventional 75 minute performance by experimental theatre duo Lucy McCormick and Jennifer Pick which ran at the Soho Theatre this spring. The pair playing narcissistic drama queens let it all hang out. It’s excrement entertainment, literally and metaphorically.

A boundary-pushing, boozy night of cabaret, live art and stand-up, promoted as a “messy musical trash-fest exploring the relationship between the two women.” Jen and Lucy perform numbers from shows such as Wicked and Blood Brothers smeared in human waste and share too much information and other stuff. It gives a whole new meaning to Dirty Dancing. 

Their production company is called Getinthebackofthevan. Need I say more. According to director Hester Chillingworth, Number 1 examines the ‘pornification’ of everyday life, a no holds-barred examination of the kind of shit that we do day to day, surrounded in ‘number 2’s. The company are known for occupying and championing the borders of things, sitting at the crossroads between a number of genres.

Critic Emma Brady described it as “a theatre experience like no other.”

For the alarmed, don’t be. The fake faeces is a mixture of gingerbread cake, chocolate and peanut butter. Ask a front row member of their audience. I was just pleased they used a conventional pen to sign my sketch… I think.