Egypt - March 2026

I wanted to gather together images of our recent 'big holiday', and looked for any of my random blogs that might be an appropriate home. I realise that it's been ten years since I used this one, but it's as good a place as any!

Ramses II (statue on right) and his wife Queen Nefertari - with a couple of twenty-first century photobombers. At the stunning site of Abu Simbel.

My husband has had a great affection for the Middle East for many years. His parents met while on national service in the Holy Land; he studied Egyptology (called Oriental Studies in those days) at Peterhouse, Cambridge; and on several occasions between the 1970s and 1993, he was employed as a guest lecturer on various Nile cruises.

Towards the end of his Cambridge days he wrote a small book ('Egypt Itself') about Robert Hay, Esq - an extraordinary character from Scotland, who, in the 1820s, took himself off on the Grand Tour, as many wealthy Europeans did in those days. That book is considered of very great interest to a very tiny niche of the population. During lockdown, and then again since his retirement in November 2023, he has gradually revised and expanded the book, and it will be published this summer by Archaeopress, both in printed and electronic format. (I'll add more information here when this happens.)

Given all this, it's not surprising that he has always wanted his wife to experience the extraordinary atmosphere, beauty, challenges, art and history of the place. It wasn't something that was within our budget for many years; but having received a legacy after my mother's passing (just a couple of weeks before my husband's retirement), we decided to 'go for it'. It took a further year of planning, and making a nuisance of ourselves to the very patient Greg at Orbital Travel, but we finally made it - spending just under a month over there.

This was, of course, a very short time after a certain orange man-baby had excelled himself in havoc, letting slip the dogs of entirely unnecessary and unjustifiable war; and naturally we were apprehensive, as were many of our friends. However, the Nile area was judged to be about the safest place to travel in the Middle East, and in the event we had no problems whatsoever. Western tourists have always been guarded with care in any case, and the fact that two of our evening wanders from our boat were made only with the escort of armed police would have happened anyway. 

We spent the first two weeks travelling on MS Moon River from Cairo to Aswan; we were then driven round the High Dam to a second boat, the impressive MS Omar Kayyam, for a week on Lake Nasser; and finally, transferred by road from Aswan to Luxor, where we spent three days in the beautiful Winter Pavillon Hotel. 

The photo albums linked below are from those three sections. I've tried to annotate some photographs to show where we were and what we were doing! And I'll try to find time to add more detail to this description soon.

Volume 1: Cairo to Aswan

https://photos.app.goo.gl/e7vVjR2WFtwBgoH69

Volume 2: Lake Nasser

https://photos.app.goo.gl/qmMDCeMWF2VkKv6Z8

Volume 3: Luxor

https://photos.app.goo.gl/XUuYUr4d5qKZ4oi48

Brimstone & Treacle: Sewell Barn, Norwich

Powerful, disturbing, thought-provoking... all this and much more. Dennis Potter's Brimstone and Treacle still has the power to shock us to the core, 40 years after its original tv broadcast. The production currently playing at the Sewell Barn Theatre is strong, brave, effective and superbly presented.

The four actors present a balanced framework - a sturdy four-legged table, if you like - for this challenging evening. The dynamic between each combination of characters is carefully defined while at the same time allowing for the uncertainty that has to exist in the text, the questions that arise - concerning trust and truth and reality - in each story or confrontation.

It's not for the faint-hearted. In its film incarnation it has an 'over 18' rating, and understandably so, for the explicit nature of some of the action. However, it has humour and honesty and warmth as well as fear and shock and darkness, and it's the combination of all these elements that makes it such a remarkable play. Moreover, the sure handling by director Jen Dewsbury of such challenging subject matter, and by all four actors who are required to inhabit such damaged personae for the evening, make this a remarkable production: brave, demanding and ultimately successful.

If it's a feel-good, cosy tale you are after, then this is probably not for you. If you are open to thought-provoking subject matter, skilled performances and a strong theatrical experience, don't miss it.

Brimstone and Treacle resumes performances on Wednesday 15 June at 7.30 pm, playing until Saturday 18, with a 2.30 matinee on the Saturday. Tickets are available in person or by phone from Prelude Records in Norwich, or online through the Sewell Barn website. All booking details can be found on this link.

Sharing the stars

One of my favourite Facebook groups is Norfolk Countryside Photos - a public group for the sharing of (naturally) images of the beautiful county in which I am fortunate to live.

Members of the group cover a wide range. Some simply enjoy viewing the work of other people; some contribute snaps from their smart phones; some are 'point-and-shoot' users, some enthusiastic amateur SLR users, and some are professionals. The joy of the group is that wonderful images - and discussions - can come from any of those people.

A recent thread has touched me very deeply, and with the permission of those who have participated, I'd like to share it here. None of the photographs are mine; they are all contributions from other members.

On the afternoon of 3 July, a member called Sonya posted the following request.

I met a lil old lady in hospital last night when I was visiting my little girl
The lady has been there for 9 weeks, is not mobile at all and can't see very far either and she was lovely 
When I left I asked if I could bring her in anything the next day, biscuits, fruit, drink... she said there was nothing she wanted except for me to say "night to the stars for her"
I tried to take a photo last night but my iPhone is not good at night so was wondering if anyone had any recent local star photos....googling it feels like cheating but I'd like to take some photos in to show her of our night sky 
Thank you
I meant to add please to this 
Please

A member called Tracy summed up the feeling of the group:

I came over all emotional reading this, bless her heart and bless yours for doing this for her, I'm sure some of the wonderful photographers can help you out here xx

Tracy was right. Over the next 24 hours, the contributions poured in from around the group. Here's one of them (from Russell Waite):

Now click here to view a further selection. The photographers are attributed in each caption. This isn't all of them, either. There were at least as many of these again.

Sonya thanked the group for all their contributions:

Oh wow!! Thank guys
She'll love them
She looks so poorly but she remembers my name and just sits smiling and waving all day 
Such a happy lady... makes you think 
But thank you for the pics, I will show her later xxxx

Member Kirsty replied on behalf of us all:

This is what this group is all about! What an amazing bunch of people you all are, first Sonya for thinking of doing such a lovely thing for this lady, then all you wonderful people for jumping to her need. Your all amazing, each and every one of you, my heart leapt reading this and all the comments and pictures this morning. xxxx

Late on the evening of 4 July - just 36 hours after her original posting - Sonya told us what had happened:

Update!!
I took photos in today on my phone and she couldn't see them so I transferred them to my iPad and showed her on that tonight instead
She took a deep breath in, drew the cross over her chest, closed her eyes for a bit and when she opened them she had tears in her eyes
She was so happy and asked me to thank you all 
So, thank you, you made a lovely lady very very happy

In response to several comments saying how glad we were that Sonya had taken the trouble to do this, Sonya replied:

It's strange because I don't feel right taking credit for anything because I would hope most people would do the same (def most of the people on here would anyway) and I'd do it for anyone ️

Lots of people might think it was a nice thing to do... the difference is that Sonya went and did it, and that the photographers took the trouble to find and share appropriate photographs.

I was overwhelmed by the response, and you all made a lady very happy 
I told her how many people had liked the status or sent their love 
She was so happy... she kept saying 'to me?'

Yes. To you, anonymous lady in hospital. Even though most of those who have read or contributed to this story will never meet you or know your identity, we send our love to a 'happy lady' who 'sits smiling and waving all day', and who wants nothing more than to say goodnight to the stars.

The little things mean a lot.

Mint

So, if you're already a friend of mine, you'll know this. If you don't, here's the deal: there is a small theatre venue in Norwich, just to the north of the city centre, housed in a converted barn, in the grounds of the Sewell College. It seats a maximum of 100 people on three sides of a stage which is viewed from above the performers. It has a unique and intimate atmosphere, and is ideal for many kinds of theatre, but is especially appropriate for plays where we, the audience, feel that we are eavesdropping - sneaking a peek through the 'fourth wall' - at what goes on 'behind closed doors'.

The current production - Mint, by Clare Lizzimore - is perfectly suited to this venue. Focusing on the effects of imprisonment, not only on the convicted criminal but also on his family, it brings an extraordinary intensity of insight into the ebb and flow of emotion as the clock ticks relentlessly on. As Alan lives through his sentence, moved between prisons, working out in the gym, walking around his reduced space, reflecting on his life, we are reminded of the happenings in the world (for real) during the late 1990s and into the new century, and kept in touch with the lives of his sisters and his parents. Most importantly, we also see and experience the emotional and practical difficulties of life 'outside' once he has served his time.

Without wanting to give away any spoilers - you need to see this show for yourself - the cast, crew and director do a truly magnificent job of conveying the frustrations, the fears and the anger that arise from this situation. The evening is also full of humour - some of it dark, some shocking, some simply glorious comic timing. Jen Dewsbury's direction is neat, precise and elegant, unafraid to use silence and the unspoken visual message, and the members of her stellar cast respond beautifully on all levels.

The family dynamic, with all its flaws and fears, is accurate to the point of pain. Each of the six members of the cast - across a wider-than-usual age range - display a professionalism, maturity and skill that is frankly staggering.

Glenda and Roger Gardiner - married in real life - head up this dysfunctional family unit in a way that sometimes has us squirming in recognition. Steve Dunn, as the prisoner Alan, maintains an awesome focus and stamina as his character is dragged through many more emotional mills than feels just, and as he paces the floor of his cell, we follow him through the circles of regret, cheerful resignation, despair and explosion. Rebecca Wass, as Alan's sister, shows extraordinary skill in conveying the changes in her own life across the six years of the action of the play (including the birth of her own child). Rachel Godfrey-Bennett, as Alan's younger sister, displays a maturity of performance way beyond her own teenage years, with a development of character and focused stagecraft that I have seen lacking in performers three times her age. And last, but definitely not least, the extraordinary Connie Reid likewise brings conviction, clarity and an innate sense of timing that is normally only achieved after many years on stage. It is especially impressive that the director has worked so beautifully with a wide age range - across something like five decades - to create such a satisfying whole.

I'd also mention that Jonathan Adkins' superb set and David Nicholas Green's original music contribute in no small measure to an immensely satisfying package.

This is not a play to watch if you're after light-hearted, frothy escapism. (You can easily find that on the television.) This is a production that gives food for thought and discussion, that moves and shakes, that provokes and intrigues. It demonstrates that there is room on our local stages for every age. It is worthy of attention and appreciation and a great deal of praise.

Photograph: Sean Owen of Reflective Arts

Mint plays until Saturday 13 June, and then again from Wednesday 17 to Saturday 20 June, 7.30 pm each night plus a 2.30 pm matinee on the final Saturday. Tickets are available from Prelude Records in St Giles, Norwich, or via the Sewell Barn website.

Unscorched : Sewell Barn, Norwich

I've expressed the view before that my favorite theatrical experiences are often the most surprising. They are the shows that are new, or at least new to me; themed on subject matter that may sound unpromising, or scary, or challenging; evenings that don't necessarily promise a cosy, feelgood, warm-and-fluffy legacy, but what they deliver is of far more value than that. If I want warm-and-fluffy, I'll get a Richard Curtis movie off the DVD shelf, thanks.

Unscorched doesn't sound like a jolly evening out. Written by local Norwich playwright Luke Owen, it takes us on a journey into the world of 'digital analysis': the characters are involved in investigating websites, photographs and videos, relating to child abuse. It brings home forcefully the strain of such work on the private lives of those whose job it is to investigate such matters, and how it affects their own ability to live, love and continue.

It's not devoid of humour - far from it. Just as paramedics and other emergency services develop a 'black humour' to keep their sanity when faced with ghastly situations, Owen's writing keeps us facepalming with embarrassed recognition at dating awkwardness, laughing aloud at the diversionary tactics used by the investigators (Buckaroo, anybody?), or smiling with pleasure at successfully tender moments. It makes the effect all the harsher when we are faced with the very real pain and trauma encountered by his characters.

Not only is this a superb piece of writing (Owen captures a completely natural reality in all his dialogue; he maintains a gripping narrative thread, and he treats an unbearably difficult subject with great sensitivity) but it is performed, set and directed with a precision and skill that took my breath away. Jonathan Adkins' set is a triumph, enabling the shifting focus between scenes to work beautifully - and I shall never look at a post-it note in the same way again. Michelle Montague's direction is unobtrusive, thorough, elegant and focused. Her magnificent cast, without exception, present performances of the greatest integrity. Every one of them turned in a performance that was professional, absorbing and completely convincing. All five actors were magnificent, but I especially want to commend the actor in the 'smallest' role - appearing only in the first scene: Myles Crowder's completely convincing work in that very short time was a masterpiece, and bears out the old saying about small parts and small actors - in no small measure.

And I'll tell you something else: it was enormously enjoyable. Of course it was dark, shocking, upsetting; with that subject matter, it could barely be anything else. But it was also full of opportunity, skill, hope and tenderness - and, yes, laughter. The show left me feeling as I do when I read a particularly good novel that I (a) am totally absorbed in, to the exclusion of the rest of the world, and (b) absolutely do not want to end.

If you wish to be intrigued, captivated, moved, convinced and provoked to thought, I would strongly recommend that you do not miss this play. Theatre of this calibre is a gift. Take it.

Unscorched runs from 27-29 Nov and 3-6 Dec at 7.30pm with a matinée on 6 Dec at 2.30pm. Tickets available online, in person or by phone; click here for details.

The wrath of the Almighty

Bible-bashing is not one of my favourite occupations. In fact, I avoid it at all costs as a rule. However...

This cartoon appeared on Facebook a couple of weeks ago. In the light of the utterly ridiculous, bigoted, unloving and un-Christian proclamation made by the Bishops of the Church of England today, I made some efforts to find it again as it resonated so much.

The rain and wind are howling outside as I type this. Ghastly UK winter weather? Yes. Global warming? Quite likely. God's punishment? I don't think so. If there is any direct divine reason for the present appalling conditions, I don't believe it to be God's punishment, it's God's tears for those who ignore the greatest commandments of all:

"'And you shall love the LORD your God with all your heart, with all your soul, with all your mind, and with all your strength.' This is the first commandment. And the second, like it, is this: 'You shall love your neighbour as yourself.' There is no other commandment greater than these." Mark 12:30–31

Do you see anything in there about "except if your neighbour happens to love his own sex"? No, neither do I.

Local theatre... in great shape

Photograph: Michael Stanislaw

The third show in the Sewell Barn's 2013-14 season was directed by Luke Owen, a regular performer with the group, and more recently a published and performed playwright. (I know he gets uncomfortable with his friends and colleagues banging on proudly about his achievements, but given the undoubted success of Unscorched, it looks as though he's going to have to get used to it.)

Having shared a stage with Luke, I knew that whatever his production delivered, it would most likely be intentional: precise, professional and focused. My hope was that his choice of play and performers would permit such an aim to be realised; to my delight, it was.

The Shape of Things, by Neil LaBute, is a contemporary play, dealing with very twenty-first century attitudes.

"When Adam meets a young art student named Evelyn, his world begins to change. The two fall in love, and keen to impress his new girlfriend Adam begins to alter everything about himself for the better – he works out, he buys new clothes, he stops biting his nails... 

But why is Evelyn so eager for him to change? And what is he becoming?"

Having said that: there are shades of Pygmalion here, so perhaps the subject matter resonates far further back than the era of Starbucks, mobile phones and the gym. Maybe that's one of the reasons I liked it so much: real-time relevance rooted in enduring observations of human nature. And it is an excellent script: thought-provoking, funny, sinister, sharply-observed and intelligent.

The four young actors were perfectly chosen. Any small-cast show has the opportunity for exciting chemistry (or not) to ignite the theatrical experience (or not); in this case, the tuning between performers was perfect. Each displaying far more artistic integrity and professional composure than is entirely fair in those so young, the four wove their characters together, bouncing and merging, arguing and sparking, each confrontation entirely believable. It's actually not possible to comment on individual scenes or characters without giving away key plotlines - which I won't, because I want you to go and see for yourselves - but rest assured that all four performers inhabit their characters with total conviction, interact with love and fear and uncertainty and excitement and despair, and truly live. David Green, Hazel Wilson, Louise Waller and Jack Churchill are all to be very highly commended for such devoted and professional work, both as a team and individually.

And as for Mr Owen: this was a fine, fine example of a vision created and realised. With Gemma Goodwin's clean and ingenious set, simple movements of blocks to create various environments, swift transformation of light and stage, and careful use of appropriate incidental music, the world of LaBute's 'Midwestern American university' was firmly established on the Barn's versatile stage. With performers who are mature enough to exhibit skillful stagecraft but youthful enough to be entirely flexible about the characters they create, we were not watching David, Hazel, Louise and Jack, but Adam, Evelyn, Jenny and Philip, and we believed it. And with that precise, professional and focused direction I mentioned earlier, the whole creation was brought together as an exceptional work of art: yet another production of which the Sewell Barn Theatre can be very proud.

As I write this, you have four more chances to witness the creation for yourself. I strongly suggest that you do. Box Office: 01603 697248.