Felicity Aston: "My life so far has been quite woven up with Antarctica"

Caroline Crampton talks to the polar explorer and climate scientist Felicity Aston, who in 2012 became the first woman to ski alone across Antarctica.

Can you be homesick for a place that is nobody’s home? The polar explorer and climate scientist Felicity Aston is sure that you can. In the same way as you or I might yearn for the house we grew up in or the town where our school was, Aston hankers for the frozen wastes of Antarctica. When she was 23, she got her first “proper job”, as a meteorologist at the Rothera Research Station on Adelaide Island, near the tip of the Antarctic Peninsula, and spent three years working there. It changed her.

More than ten years later, the place still has a powerful hold over her. “You see the good weather, the bad weather; you see it in darkness, in light, in moonlight, in sunshine; you see it on days when you love it and days when you hate it,” she explains. “I know it’s a bit of a cheek to try to call Antarctica your home but it is somewhere that I have just endless fondness for.”

In 2012, Aston became the first woman to ski alone across Antarctica – a fact she says she found out only later, when a journalist pointed it out to her. “Firsts are important because they give you the platform . . . But for me, the motivation was not necessarily to stamp a ‘first’ on my forehead. It was all about the journey – my life so far has been quite woven up with Antarctica.”

Sasatrugi, formed by wind erosion, on the Antarctic ice. Felicity's tent can be seen in the background. Photograph: Felicity Aston

As an experienced explorer – she had previously raced to the South Pole and across Arctic Canada – she knew the physical challenges of the expedition. What took her completely by surprise was her emotional reaction to the perpetual solitude out on the ice. She cried – and not just as she watched the plane that had dropped her off disappear over the horizon. She blubbed, sobbed and wailed her way across crevasses, up glaciers and through mountain passes. As someone who had always enjoyed her own company, she was scared by the way she reacted. “At first, I was physically shaking, my heart was going, I was out of breath – and yet I knew I had to get over it somehow.”

Even finding the motivation to leave the tent each morning was an emotionally draining experience. “One minute, I’d just be focusing on making my coffee; the next minute, I’d be bursting into tears and talking to myself, then I’d be angry with myself.”

She wept so much on her journey that when it came to writing about it afterwards she was worried that she sounded like “some kind of hysterical, melodramatic woman” (the only other explorers to make solo journeys across Antarctica are two Norwegian men).

Explorers often give the impression that they are always looking for something more extreme to conquer – a higher peak to scale or a bigger desert to cross. Yet Aston feels satisfied that she has reached her limit.

“I’ve felt a certain amount of freedom since coming back,” she says. “I could keep pushing; I could do something twice as long, or twice as difficult. But for me there would be little point, because I’ve got the answers I wanted.” 

 

Alone in Antarctica by Felicity Aston is out now (Summersdale, £8.99)

 

A sunny evening - Felicity on her solo expedition in 2012. Photo: Felicity Aston

Caroline Crampton is head of podcasts at the New Statesman.

This article first appeared in the 26 August 2013 issue of the New Statesman, How the dream died

Quiz recreates the atmosphere of the Who Wants to Be a Millionaire? studio. Credit: JOHAN PERSSON
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Quiz is a fast-paced, hi-tech retelling of the Who Wants to Be a Millionaire? cheating scandal

This tale of the “coughing major” is a nostalgic romp through the rise of reality television.

As the interval began at James Graham’s new play, Quiz, I turned to my companion and said: “Wow, this is like telly – in a theatre.” (For clarity, this is a compliment.) This fast-paced, hi-tech production tells the story of the “coughing major” Charles Ingram, who won the top prize on Who Wants to Be a Millionaire? and then had it taken away again after being accused of cheating.

It provides a nostalgic romp through past ITV shows and the rise of reality television, involves the only audience participation not to make me cringe straight through my seat and into the row behind, and, y’know, also asks whether our memories are so fallible that they are essentially useless, undermining the very nature of truth itself. There’s also a cracking impression of Chris Tarrant.

James Graham is on a roll: last year, the Almeida’s production of his new drama Ink transferred to the West End to the Duke of York, while the theatre next door hosted his original comedy Labour of Love.

The latter, but not the former, won an Olivier Award on 8 April, which is nothing short of a travesty. Labour of Love was a perfectly serviceable romcom ported to a constituency office, but its lighter elements somehow jarred with its ambition to Say Something About The Left. In Ink, on the other hand, the comedy bolstered the play’s moral message rather than undermined it. The play showed how the fun and excitement of the early days of the Sun swelled and distorted until the cheeky smile became a rictus grin; the second half then plunged us into darkness with a grisly murder and the collection of a Faustian bargain.

In Quiz, the comedy performs the same function as it did in Ink: it lulls and seduces the audience, leading them invisibly down a particular path, so they can then be shown how easily they were influenced. The first half is styled as “the case for the prosecution”. We hear that Ingram’s wife Diana and her brother had already appeared on the show, having devised a way to beat the supposedly random selection process. Mrs Ingram had phoned another contestant, college lecturer Tecwen Whittock, whom she vaguely knew, the night before her husband’s second appearance; he was then recorded coughing suspiciously the next day whenever the right multiple choice answer was read out. Hearing all that meant that when we were asked to vote at the interval – using keypads attached to the seats – on Major Ingram’s guilt, the audience delivered an unambiguous verdict: send him down.

Then we discovered that there was another side to the story. Diana Ingram knew Whittock through her brother, so the call could have been innocent; in any case, he claimed to have a dust allergy that made him cough almost uncontrollably. (It would have been like setting up a fiendish conspiracy based around blinking with someone who finds it hard to tolerate contact lenses.)

The hints of disquiet about the manipulative qualities of television present in the first half then bloomed fully with the revelation that the “cough tape” was supplied to the court by the TV company Celador – which gained a million pounds by not paying out the prize, remember. It had been heavily edited, with numerous other “irrelevant” coughs removed. Voting again at the end, a majority would have let Major Ingram walk free. (In real life, the jury were not so swayed; Charles and Diana Ingram and Tecwen Whittock were all found guilty.)

This is one of those productions where everything is just so. The ensemble cast switched neatly between roles; the set design was modern (recreating the bear pit of the Millionaire studio, itself meant to evoke a colosseum); the staging was fluid and surprisingly experimental; and director Daniel Evans extracted larger-than-life comedy performances that teetered on the right side of mugging. The courtroom framing also allowed for quick, shameless exposition dumps. Even better, the flashes of deeper meaning – a reference to the Iraq War’s truth-denying Comical Ali, or the Apprentice-driven presidency of Donald Trump, reality TV’s worst spin-off series – never felt forced.

Evans is artistic director at Chichester Festival Theatre, where this play had a short run last year; he and Graham have tightened and quickened it since then. Like Network at the National Theatre, it forces the audience to think about their own reaction to the play even as they’re watching it – just as the unlikely innovation of Who Wants to Be a Millionaire? was to let the contestants see the questions before deciding to play, tormenting them with doubt. As Graham pointed out in an interview, we should always mistrust ourselves: the case is known as the “coughing major” scandal, when the major wasn’t even the one doing the coughing.

Quiz runs until 16 June. quiztheplay.com

Quiz
Noël Coward Theatre, London W1

Helen Lewis is deputy editor of the New Statesman. She regularly appears on BBC Radio 4’s Week in Westminster and the News Quiz, and BBC1’s Sunday Politics. 

This article first appeared in the 18 April 2018 issue of the New Statesman, Enoch Powell’s revenge