Midsummer revelry at Stonehenge. Photo: Getty
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My nerves can’t cope with three random midsummer encounters in the space of 15 seconds

I’d long planned to go up to the Heath on Midsummer Night to frolic under the stars.

Midsummer’s Day was unusual. That’s good: a usual day, these days, involves lying in bed all day wondering when I’m going to tidy up the bedroom enough so I can let the cleaning lady have a go at it without me dying of shame or her resigning in disgust. When you don’t have a lady friend in situ you tend to let things slide a little bit, and your motto changes from “Excelsior!” to “What’s the sodding point?”, only with a more passionate qualifier than “sodding”.

I’d long planned to go up to the Heath on Midsummer Night to frolic under the stars. The last time I had a proper midsummer bacchanalia was when my fellow columnist Mr William Self arranged for a bonfire party on the beach near Sizewell, just round the corner from where he was living at the time. This was all very nice but I’d had to stay up half the night on the evening before, condensing The Tempest into a 15-minute playlet because he wanted us to perform it. (It took a lot longer than I thought it would, but I like to think I turned out a pretty good version.) This time all I was going to do was lie on my back or walk through the woods, with a friend, or rather more than one friend, as I did not want to be mistaken for the kind of person who goes up to Hampstead Heath in the middle of the night for one purpose only. (I am reminded of the wonderful letter in Viz which complained that gay men, going to the Heath for an encounter, could have their spirits uplifted in the knowledge that there was a small but distinct chance they would run into George Michael; whereas there is no public space on earth where a heterosexual man can go in the expectation, however small, that he’ll run into, say, Angelina Jolie.)

So I am to go with my old friend John Moore; a couple of his friends, both women, will be joining us later. En route to my rendezvous I drop in on my old friend C—, who presses upon me one of those cigarettes which, by a curious anomaly, are perfectly legal in Colorado but, thanks to the stupidity and ignorance of successive British governments since 1928, illegal here.

I have noticed on more than one occasion that it is only when one is enjoying the effects of such a cigarette that Providence decides to throw you rather more than your allotted share of odd occurrences. If paranoia is said to be a side effect, then that might be because you have something to be paranoid about. So when an enormous shaven-headed man accosted me on the northbound platform of the Northern Line at King’s Cross, I at first wondered whether my time had come, and the various people and organisations I owe money to had clubbed together and decided that assassination was the only way forward.

“Excuse me for bothering you,” he said politely, “but from the way you’re dressed” – it is a warm day, and I am wearing my summer plumage of white linen – “you look as though you might know what’s happened in the cricket.”

As it happened, I did, and was in the middle of an involved account of how exactly England had got to 318 for 6 against Sri Lanka, when someone else tapped me on the shoulder. Jesus Christ, I thought, this is it! Mr Shaven Head was just a diversion. But it turned out to be Noah, a friend of my daughter’s, who had recently befriended me on Facebook. He once broke a string on my guitar while he was playing it so I made him restring the whole thing; as it’s a 12-string semi-acoustic, this takes about three hours. Had he been stalking me so he could push me on to the tracks in revenge? No, he wanted to thank my daughter for having driven him and his film crew to Wales.

By the time I got to the pub I had more or less recovered from two random human encounters on the Tube in 15 seconds, but was still jittery. As I sipped my pint a young man in a football shirt asked if I would take a picture of him and his friends. As I held the camera up, he asked: “Er . . . are you Nicholas Lezard?”

My usual impulse when asked this is to say “no”, for reasons hinted at above, but instead I said “yes”, cautiously. It turned out that he was a fan of this column; and he even had a copy of this magazine, open at this page, which he took out of his bag for me to sign.

Which has more or less made my year, to be honest, but Philip, if you’re reading this: you nearly gave me a sodding heart attack.

Nicholas Lezard is a literary critic for the Guardian and also writes for the Independent. He writes the Down and Out in London column for the New Statesman.

This article first appeared in the 02 July 2014 issue of the New Statesman, After God Again

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.