Tuesday, 12 August 2014

moral contradictions


We grouse a lot about storylines in which the residents of the Street turn on someone they've known forever, suddenly willing to believe – out of nowhere - that they are capable of criminal behaviour. Take, for instance, Tyrone (the gentle lout, who, in light of Kirsty's accusations, becomes, in almost everyone's eyes, a closet wife-beater) or Peter (the alcoholic bigamist who, despite his known flaws, probably does not deserve to be tarred as a murderer, at least not until he's been proven guilty).

This phenomenon, of residents, so ready to undergo anmnesia and forget the things they used to know about a neighbour, has always been a staple of the show, going back to its roots.

No one would – or could – fault Ena Sharples of a crime, correct? being the moral backbone of the street? Except they did. They turned on her as swiftly, with the same pack mentality, back in 1966. 



For those who don't remember, here was the setup:

Ena and Minnie went to a supermarket outside of the Street, got confused by the high-speed, high-tech check-out system, and left the store not realizing the cashier had failed to charge them for 2 tins of salmon. Next thing, Ena is being charged with shoplifting. News gets back to The Rovers before the end of the commercial break.

Annie Walker, addressing her husband Jack, is the first to point out that Ena Sharples, having held a high and mighty attitude for all of these years, is not precisely deserving of sympathy: “I never said, Jack, that she wasn't human. She has many failings. She was capable of a lot of interference. Caused a great deal of hurt in her time. I know. I myself have been the object of her speculations.”

Jack Walker, for what it's worth, tries to support Ena, reminding his wife of Ena's strengths: “[S]he was always a leader. If ever there was a battle to be fought, she was there in vanguard.”

Hilda Ogden, being Hilda, is part of the exchange, eager to cash in on new gossip and an opportunity to denigrate others: “You never had to send a replacement. Just shout her name and kids would scatter.”

If you would like to revisit the video, here is the link:

https://www.youtube.com/watch?v=eEDzrOCGynA

What I'm trying to say is that all of these characters – Annie, Hilda, Ena – entered the pantheon of Corrie legends long ago, yet, if you go back in time, not one of them was unilaterally moral. Hilda would put anyone down if she thought it could elevate her own status, Annie was ready to bear witness against a regular customer, and Ena garnered no sympathy from the neighbours, precisely because she was, at root, no different from them.... capable of ill-timed pettiness and Bible-thumping when the occasion least called for it.

So I don't think Coronation Street is a moral place – nor in my opinion should it be judged on that basis. It originated in the mind of Tony Warren, a young gay man growing up amongst stale rules and moralizing biddies, who was clearly fascinated with the contradictions played out among people he knew-- a small working class enclave, as generous as they were stingy, as wise as they were ignorant, as charitable as they were mean.

In other words, the Street transcended morality. It was simply real.

Thursday, 2 May 2013

Green Room Gossip






As a theatre nut, I couldn't help prick up my ears at this heady news, just in from Digital Spy:
"Coronation Street stars David Neilson and Chris Gascoyne like to rehearse high-brow plays together behind the scenes.

                                                                                  


"The two enjoy acting out the work of Nobel Prize-winning Samuel Beckett in the show's green room, The Sun reports."
Wow.  I admit, that's my kind of gossip!

Better still, they sometimes get their castmates to join in the guilty pleasure:
"[David and Chris] are particularly interested in one of his plays and one day they would love to put on a production together.
"When they need a hand with any of the scenes they get Sylvia [Stephanie Cole] and Malcolm [Hebden] to help.  It really is quite a strange sight and not one you'd expect to find backstage at Corrie."
I don't know why it would be strange to see actors acting in their free time, but Digital Spy probably means soap actors spending their down-time with hoity-toity Nobel Prize-winning litratchah... Except that Samuel Beckett's characters come from the same unassuming, working class roots as Coronation Street, with a twist of Irish and an extra shot of the Absurd.

I immediately got down to imagining Roy, Peter, Norris, and Sylvia cast as characters in a Beckett play.  Which play would it be?  And who would play which part?

Based on the actors mentioned, my guess is EndgameHamm, blind and wheel-chair bound, is stuck in a dysfunctional relationship with his helper, Clov.  Against a post-apocalyptic backdrop, they doggedly carry on the little rituals of daily life, which include feeding and changing the litter for Hamm's ancient 'progenitors', Nagg and Nell, condemned to living out the end of their lives in side-by-side dustbins.  (Comedy gold!)

                                                           
Nell and Nagg:  The old folks at home!
       
Hamm:  The old folks at home!  No decency left!  Guzzle, guzzle, that's all they think of...
Nagg:  Me pap!
Hamm (to Clov):  Give him his pap.
Clov: There's no more pap.
Hamm (to Nagg): Do you hear that? There's no more pap.  You'll never get any more pap.
Nagg:  I want me pap!
Hamm (to Clov):  Give him a biscuit.  (To Nagg):  Accursed fornicator!

Personally, I would cast Peter as Hamm, Roy as Clov, Norris as Nagg, and Sylvia as Nell.  Try reading the dialogue above with their voices in mind :)

What would be your fantasy play for Corrie actors to rehearse in the Green Room and what roles would they play?  Hamlet anyone? The Scottish play? (I call Carla as Lady Macbeth!!!)


                                                Endgame photo property of The Torontoist.

Wednesday, 1 May 2013

Tracy Barlow - Redeemable Villain?


Tracy Barlow - Redeemable Villain?
 

                                                             


Karen Comer says:  "A villain is just a hero turned upside down."  This quote got me thinking about Tracy Barlow, a character who, for many on this site is irredeemably bad.  From the hoax she pulled on Roy to the dirty she did to Gail in prison, she has never shown empathy toward her Cobble mates nor remorse for her actions. Then there was her out-of-jail free card, which cleared her of Charlie Stubbs' murder on a technicality, like Ford pardoning Nixon... only worse!

But if a villain is really a hero upside down, is there a way to turn Tracy on her head and find sommat good?

Readers here have noted, with understandable skepticism, some lapses of late in Tracy's badness - like going back inside No. 1 to retrieve Eccles during the fire and playing protective sister to Peter in his recent run-ins with Rob.  I also earmarked the scene where Tracy complains that Ken isn't even "pretending to listen to her." When Ken answers that he "is... pretending," Tracy's feelings seem genuinely hurt. Could it finally be she is seeking human connection?

On a site dedicated to the subject of "How to Redeem a Seemingly Irredeemable Villain," I found tips for doing just that.  Here are a few:

  1. Set up a struggle between the good and evil parts of the villain's heart.  This could be done with a growing sense of unease on the villain's part; with a small, persistent voice at the back of their head, or with an all-out brawl over the villain's soul.
  2. Have your villain join their former hero enemies or simply give up their evil cause.
  3. And finally (the one most of you will like):  If you're willing to kill your villain, you could always have them sacrifice themselves to save someone/something.

So, what do you think?  Can you imagine a storyline that would redeem Tracy Barlow and, if so, how?  Come on now, never say die. Even the Grinch's heart, as small as hearts go, grew three sizes in one day!