Poetry from our Poet-in-Residence, Janice Owen: A Boy Aged Seven

A Boy aged Seven, is dedicated to my grandson Luke, realising he may struggle with exam fears as memories of my own school days resurface.   The overwhelming pressure, the knot in the stomach and understanding that exams can feel all-consuming in the moment.  I want to reach out and ease any anxieties life may present him, all of that is denied by estrangement now permeating into future generations.  

Tests fail to capture the whole of a person’s abilities or worth, they are just one part of a larger journey, and the resulting scores do not define you.  I hope he has the determination, dignity and resilience within his DNA to build self-belief and confidence, to be his own man.

For a mother, watching her 7-year-old son grow and develop brings a unique blend of joy, pride, and reflection.  At this age, children are beginning to show more of their personalities and potential, and a mother might see glimpses of the man he could one day become.  A time that inspires a mother to think about her role in guiding him, fostering qualities like kindness, resilience, and responsibility, all while cherishing his innocence and curiosity.

The phrase “maketh me the man” can resonate deeply, as it suggests that this little boy’s growth and learning are not only shaping his own future but also impacting the mother’s life in meaningful ways.  Raising a child brings out strengths in you never knew you had, and in nurturing his character, you develop patience, compassion, and sense of purpose.  This mutual growth becomes one of the most beautiful and transformative aspects of parenthood, even in estrangement.

A Boy Aged Seven

Seven

Aged seven

Boy aged seven

Little boy aged seven

A little boy aged seven

I’m a little boy aged seven

I am a little boy aged seven sat

I am a little boy aged seven sat sitting 

I am a little boy aged seven sat sitting SATS

Sat sitting SATS! SATS! A little boy aged seven!

My imagination and creativity has the natural world to explore.

Let me discover through cultural education, please no testing anymore.

Read more of Janice’s work here:

Meet our Poet-in-Residence: Janice Owen

Janice Owen is an accomplished writer known for her work in both fiction and non-fiction.   Deeply rooted in day to day living, her writing strikes a chord with her audiences and readership.  She explores themes of identity, community, and the human experience in her storytelling.  Her writing is characterized by its vivid imagery, her life observations and deep emotional resonance, drawing readers into rich, immersive worlds. Additionally, she has contributed to various literary journals and anthologies, showcasing her versatility as an author.  In this example, and typical of her writing Janice simply shares day to day life, her journey home ….

Going Home on the 19

The 15:30 failed to arrive.

No wonder clients decide to drive.

Adolescent bones, rest their derrière.

Do not notice, you are there!

Queuing, an art form in disguise.

Disrupted by a testosterone, fuelled, guy

Yanks his girl, across your face.

Invading your chosen personal space.

Begins his feast of fornication.

A love starved youth, pure deprivation.

The conjoined bodies have no distraction.

I am, unwillingly, all part of the action

Not my choice of position.

Neither do I wish to listen.

A meal, simply gourmet.

Spatial awareness is not his forte.

He ditches her for a roll up fag,

Strutting his stuff, like a rutting stag.

I raise my head, a true survivor.

I just hope, he is not, a learner driver.

The bus departs, Boston bound.

Relief, short lived, all around.

City buses come and go.

The one you wait for, always slow. 

The gentile queue, have battle fatigue.

Other destinations out of their league.

At last, weary citizens pay their dues.

As stories unfold to amuse.

A little child is entertained, yet no play.

Weaned and stimulated on cartoon replay.

A few miles along the road.

He seeks a new bosomy abode.

Time for a little restitution, a teatime tipple

He latches loosely to his mother’s nipple

The elderly couple turn the other way

As the ample bosom is on public display.

No embarrassment, or decorum, 

and explains in detail how she bore him.

Personally, I could do with a cup of tea.

Travelling by bus is too much for me.

Meet Gary Carpenter, composer of Tabloid!!!

Gary Carpenter and Nick Owen met at LIPA in the very early days when we were sat at the back of a very cold classroom in a portacabin, charged with the task of writing their courses with the maximum of efficiency and the minimum of distraction. This soon became impossible and they were soon fondly referred to the ‘Beavis and Butthead’ of LIPA by the Head of Performance Design at the time, Colin Fallowes.

They took his acclaim as an honour and agreed to collaborate at the earliest possible opportunity. This manifested in the production ‘Tabloid!!! which was produced at the Unity Theatre in Liverpool in October 1995. Whilst the production was based in 1986, Gary points out that the themes are as relevant today as they were then:

The character of Bellamy is more relevant now than ever: a charming but ambitious geezer using sex to achieve ever more elevation in the newspaper world despite being hopelessly incompetent and virtually illiterate. He could even have ended up as Prime Minister had we set it later than the 1980s. He would certainly might have written for The Spectator…

In the immediate future, Gary has his Piano Trio performed at Wigmore Hall on Saturday 30 November 2024 (incredibly also Nick Owen’s birthday): you can read more about this here.

Gary studied composition at the Royal College of Music, London with Humphrey Searle, Thea Musgrave and John Lambert, and participated in master classes with Nadia Boulanger. He has lived in Holland and Germany and has written operas, musicals (including The Streets of London [Her Majesty’s Theatre, 1981], Goodnight Mister Tom – The Musical) a and China Song (Vivian Ellis Prize 1999 and tour), ballets (mainly for Nederlands Dans Theater), a radio music-drama (The One Alone with Iris Murdoch) and much concert music. Musical director and/or arranger-orchestrator on many stage shows and films (including The Wicker Man [1972]), his Azaleas for harp trio received a 2006 British Composer Award in the chamber category. CDs include SET (orchestral works) and Die Flimmerkiste (chamber works).

Orchestral works include Fred and Ginger, SET (tenor sax concerto), Dadaville, Willie Stock and Ghost Songs (with junior choir). Mahan Esfahani and Ensemble 10/10 premiered Mondrian (concerto for harpsichord and ensemble) in Liverpool (March 2019) and subsequently in Cologne (May 2023) and Hamburg (November 2023). His work has been played by the London Symphony, Royal Liverpool Philharmonic, BBC Symphony, BBC Philharmonic, BBC Concert, Hallé, City of Birmingham Symphony, Royal Scottish National, Aalborg Symphony, Basque National, Frankfurt Radio Symphony, Dutch Radio Philharmonic orchestras. Conductors include Daniel Harding, Vasily Petrenko, Sakari Oramo, Duncan Ward, Oliver Knussen, Andrew Manze, Harry Christophers, Clark Rundell, Giancarlo Guerrero, Roberto Forés, Thomas Søndergård, Edward Gardner, Michael Seal and HK Gruber amongst others. A dark folk album co-written with Matthew Deighton for the band Magnet will be released in 2025.

Gary holds a professorship at the Royal Northern College of Music and lectures at the Royal Academy of Music. 

Remembering John Abbott: teacher and casting director extraordinaire.

Shakespeare’s Comedy of Errors tells the story of two sets of identical twins who were accidentally separated at birth in the Greek city of Ephesus some time Back in the BC Day (that’s Before Christ, not Before Covid for those with short memories). Merchant sons Antipholus of Syracuse and Antipholus of Ephesus and their servants, Dromio of Syracuse and  Dromio of Ephesus all play out a wild series of misunderstandings and mistaken identities in Shakespeare’s shortest comedies.

Are you with me so far?

I won’t describe the play any further you’ll be relieved to hear but wanted to remember John today because of his alarming decision to offer me the role of Dromio of Ephesus in the Rickmansworth Grammar School Play back in the autumn of 1970 AD. This was alarming for me because apart from playing a small walk on role of a gypsy in a primary school nativity some years earlier, this was the very first time that I had been drawn in to the magic of theatre and its community of performers, writers, technicians and audiences.  

His suggestion that my long-standing school friend, Nick Hawkins and myself would properly act out the identical servants on a proper stage, wearing proper costumes and theatrical makeup and facing up to proper audiences of people who were composed of more than our immediate friends and family proved a transformational moment for me which shaped my life ever since.

Not only did we have to learn and repeat lines and make them sound the most natural conversations in the world, we had to find something in us which allowed us to play the fool.  We’d had plenty of experience of that out on the school fields and even in the occasional biology class. We were burgeoning 14-year-olds, remember, and not averse to dissecting frogs to the refrain of ‘them bones, them bones, them dry bones’: but to be positively encouraged to play the fool, and get serious about comedy was something I certainly hadn’t encountered before.

As well as feeding us with inspiration which fuelled us for our careers and future lifetimes, John also provided steak and kidney pies from the local bakery every rehearsal afternoon after school: again, believe it or not, another unique experience for me.  I don’t remember very much about the performances themselves other than I think we both did a pretty fine job of playing identical twins. Friends, family, teachers and even strangers applauded the production and we reveled in the lights, the sounds and the action. We both went on to other school plays, cast and directed by other English teachers, and then on into the wider world of theatre and the arts which has sustained us both throughout our careers.

Thank you, John, for introducing me to The Comedy of Errors: life’s had its fair share of comedy ever since but your early guidance and inspiration was one of the best things that ever happened to me.  No error there!

RIP John Abbott, teacher and casting director extraordinaire.