OTTER FARM
Mark Diacono, 41 and Candida Diacono 37 live at Otter Farm in Devon with their daughter Nell, one. They’re growing a variety of foodstuffs more commonly flown in from overseas, and have planted Britain’s first commercial olive grove.
Mark and Candida Diacono discovered Otter Farm near Honiton in Devon on the way back from their honeymoon. ‘We were told about this place and called in to view it on the way back home,’ says Candida. ‘It’s 17 acres and we were just about able to scrape together the money so we took the plunge and bought it.’
Initially however, they weren’t sure what to grow there. But like Archimedes, Mark had a blinding flash of inspiration in the bath. ‘I made a mental list of the food I liked and knocked off the boring stuff like potatoes and carrots that other people do perfectly well already. That left a list of old-fashioned fruits like quince and mulberries, which I feel deserve to be re-discovered, together with food which I felt would grow better as a result of global warming such as apricots, almonds and olives.’ In addition to running the farm Mark works as an environmental consultant and feels strongly that global warming is a reality and that farming needs to adapt to meet the challenge. ‘Current research indicates that in the UK it’s going to lead to warmer, wetter winters, longer growing seasons and milder nights. We’ll also get less predictable rain – with long periods of rainfall alternating with dry periods rather than it being more evenly spaced out. It’ll become increasingly important for farms to diversify and grow a number of different crops because each year some will survive and others won’t. At Otter Farm we’re committed to growing about 30 crops in any given year.’
Candida, Mark and their one year old daughter Nell show me round. Nell insists she wants to ‘jump in muddy puddles’ – one of her favourite games - and because Devon has been getting Mark’s predicted downfalls of rain recently there are plenty for her to choose from. ‘It’s a great place to bring Nell up,’ says Candida. ‘She’s got more space to play and it’s a more natural, outdoor environment.’ However, the Diacomos are relatively new to rural life. ‘Four years ago we were living in Kent, I was working as a landscape planner for local authorities and Candida was an office administrator,’ explains Mark. ‘We wanted to try something different and after watching too many episodes of River Cottage on the TV and a couple of glasses of wine too many in the evening we decided to give smallholding a go.’ Mark had no experience of farming whatsoever at that point and had never even managed to keep a pot plant alive, whereas Candida had enjoyed gardening as a child. Their first venture was a 2 acre smallholding in mid-Devon where they stayed for a couple of years, learning the basics from a combination of books, internet advice and trial and error before upgrading to Otter farm.
But they’ve clearly learnt quickly as today the place looks thriving. We walk past beds planted with peaches, pecans, apricots and a polytunnel containing kiwifruit. Then Mark shows me the 120 trees which makes up Britain’s first commercial olive grove. ‘I thought he was bonkers when he first suggested it,’ says Candida. ‘But actually it’s turned out really well in that it’s got us a lot of media attention and opened up the discussion about climate change.’
‘We’ve become known as Britain’s first Climate Change farm,’ explains Mark. ‘The idea behind it is to sustainably exploit global warming by growing overseas crops while ‘paying it back’ by making otherwise overseas produce available here with low ‘food miles’.
Currently they’re selling their produce at the local Farmers’ markets in Exeter and Awliscombe near Honiton and are finding the local community very supportive ‘We thought we might get a bit of sniggering, but it hasn’t happened,’ says Mark. And in the long term, we’ve got a number of shops and restaurants who’ve expressed enthusiasm for everything we can produce.’
However, it’s not all a carefree rural idyll. ‘It’s nail-biting financially,’ says Candida. ‘And the work is endless. We don’t stop from the moment we get up until we collapse into bed. But it’s also tremendously rewarding.’
If you’d like to take advantage of climate change and experiment with growing overseas produce yourself Mark suggests checking out www.agroforestry.co.uk where you can order plants including apricots, lemons and olive trees suitable for the British climate. And maybe in a few years you could have an olive grove of your very own!
www.otterfarm.co.uk
HIGH WEALD DAIRY
Mark Hardy, 45 and Sarah Hardy, 42 run High Weald Dairy in Sussex which produces a variety of cheeses including ones more usually flown in from Greece such as Feta and Halloumi
The Feta cheese which Sarah Hardy gives me to sample is miles away in quality and flavour from the bland packaged versions I usually throw into my supermarket trolley. It’s got a sharp, fresh character, reminiscent of the type you’d enjoy in a salad on a sun-kissed holiday in Greece. Except that it’s been made down here in Sussex, a ten-minute drive from Haywards Heath.
Mark Hardy went to Cirencester Agricultural College and then came back to help on the farm his parents owned in the Ashdown forest. He’d become interested in milking sheep whilst studying and encouraged them to acquire a flock of Friesland ewes, initially making yoghurt and soft cheese from the milk. ‘But we had a friend who was Greek-Cypriot and that gave me the idea of making Feta and Halloumi cheese to sell to that community in London. It went well, and so we branched out into selling it in health shops and delicatessens.’
Four years ago Mark and Sarah moved to Tremains Farm, and currently it is run as an organic dairy farm with 250 cows producing milk that’s converted into cheese in the on-site dairy. The organic sheep’s milk for the Feta and Halloumi is currently brought in from neighbourhood farms, though the Hardys do keep a small flock which they hope to start milking again next year. I’m taken to visit them and they’re much bigger than any I’ve come across before. They’re also much friendlier, coming up and nudging us – presumably because as milking sheep they’re more familiar with being handled than ones bred for meat and wool. ‘Friesland sheep are excellent for milking because they’re docile, produce lots of milk and lambs and take to the milking process very easily,’ Mark explains. ‘They’re happy to come in for milking at 7am and 4pm and usually we play them Radio 2.’
Back at the dairy, Sarah introduces me to two of the cheesemakers, Colin and Michael. ‘At the moment we’re producing about half a ton in total of our Feta and Halloumi cheeses, each week,’ she explains. ‘Our cheesemakers have been with us for years and make it traditionally and that creates a really unique product. We notice the character of the cheese changes slightly throughout the year, depending on the milk that the ewes are producing – and it even changes depending on which of our cheesemakers made it. One of the advantages of making and selling the cheese locally is that we don’t have to add as much salt to preserve it so the true flavour can come through. And of course it reduces ‘food miles’ to have it made in the UK rather than in Greece.’
The Feta and Halloumi is now sold through local shops and at farmers’ markets such as Lewes, Guildford and Tunbridge Wells. ‘We offer samples to shoppers,’ says Sarah. ‘Most people have already tried Feta. Halloumi isn’t as well known, but it’s really delicious. It can be grilled or dry-fried and has a texture similar to a grilled marshmallow with a crusty outside, soft centre and a taste similar to that of bacon. We describe it as the vegetarian alternative to the rasher, and lightly dry fry it to a golden brown and give it to people to try. Most of them love it and getting those instant positive reactions is very rewarding.’
‘I think that people are becoming increasingly aware of the power of the consumer,’ says Mark. ‘By supporting farms with a commitment to animal welfare and growing organic they can help bring in better practices. And by going for local rather than overseas producers when possible there’s the chance to reduce the pollution caused by transporting food as well.’
www.highwealddairy.co.uk
TREES CAN’T DANCE
Dan May, 38 is an ex landscape photographer now running a chilli farm near Haltwhistle in Northumberland.
dan@treescantdance.co.uk
Looking over towards Cold Fell, on the edge of the North Pennines the sky is overcast and I can see sheep grazing in a light drizzle. It’s a rather unlikely setting for a chilli farm.
‘I believe this is the most Northerly chilli farm in existence,’ says Dan May who set it up in 2005. Dan was prompted to set up the farm by his own love of chillis. ‘I used to work as a landscape photographer and travelled all over the world,’ he explains. ‘When I came back to the UK I found I wasn’t able to recreate many of the dishes I loved because the chillis available here weren’t hot enough or weren’t of the right variety. Initially I grew a few as a hobby. Then I realised that there must be other people out there who felt the same as me and saw it had the potential to develop into a business. After all, people are more well-travelled these days and many have been to places such as India and Mexico and come to enjoy the food there. Chillis are now the fastest-growing area of foreign food. It’s taking off in the way that garlic and olive oil took off in the 1970s and 1980s when people came back from holidaying in Italy and Spain. At the same time, people are interested in reducing their carbon footprint wherever possible so being able to buy overseas food such as chillis grown locally is a bonus.’ Dan now grows 60 varieties differing in taste, spiciness, colour and size and offers ones much hotter than those currently available. ‘The heat rating for chillis is measured in Scovilles,’ explains Dan. The average supermarket chilli is between 600-1000 Scovilles – we do ones which are up to 300,000 – 400,000 Scovilles.’
The farm is based on 2 acres of a former agricultural machinery yard. Dan shows me the three polytunnels, where the chillis are thriving. ‘It’s quite a challenging location in many ways as chillis don’t like cold or damp and in Northumbria we get a lot of both,’ says Dan. ‘But we work hard to keep the soil warm and well-drained and so far they’ve done well. It’s not all plain sailing though. In January of this year we were away promoting the products at a trade show. There was a gale with winds of about 100 miles an hour and the covering of one of the polytunnels split in the middle and then ripped in two. Fortunately it didn’t have any chillis in at the time as we were cleaning it out to fertilise the soil. But it does make you very aware of how vulnerable we are to unpredictable weather.’
Then Dan shows me the kitchens where the chillis are converted into various sauces and spice blends and marketed under the brand Trees Can’t Dance. About 2,000 bottles a week are produced which include Sweet Chilli Sauce, African Hot Sauce, Traditional Texas Chilli Powder and Cajun Rub. In the last 14 months Dan has been joined in the business by Becky MacKenzie and Neil Thomas and they get involved in every aspect of the business together, from caring for the chillis to cooking, bottling, and marketing the final product.
The response from the public has been very positive. ‘We’ve never had to pay for advertising, as the press coverage has generated so much interest from customers,’ says Dan. ‘Our products are now on sale in major food outlets such as Fenwicks and Fortnum and Masons, in a wide range of independent delicatessens, at farmers’ markets and via our website at www.treescantdance.co.uk
But this success has come at a price. ‘It’s really, really hard work,’ says Dan. ‘I started growing on a commercial level just over two years ago and have probably had less than 10 days off since. I work from 8 in the morning till 10 at night 7 days a week. It feels like hard slog, and I tend to get very caught up in handling day-to-day problems. But every so often I’ll stand back and realise how far we’ve come in a short time. This time last year we only had 3 or 4 outlets and now we’ve got dozens all over the country.’
Trees can’t Dance has a commitment to being as eco-friendly as possible throughout the business. They don’t use any pesticides or artificial fertilisers. The sauces are sold in glass bottles as they’re the best for recycling, and they are planning to introduce a wind turbine to provide electricity for heating and ventilating the polytunnels. ‘We also want to develop the site and make links with the local community,’ says Dan. ‘We’re hoping to have chilli evenings where people can sample different chilli dishes and have educational visits from schools looking at issues such as eco-friendly farming and air miles.’
If you’d like to buy any Trees Can’t Dance sauces or to grow chillis yourself, seeds of varieties suitable for growing in the UK will be available on the www.treescantdance.co.uk website from October.
Tuesday, 18 October 2011
Monday, 29 August 2011
Sunday Express - Behind the Scenes at Songs of Praise
It is a cold, wet Friday evening in February and the congregation of St John the Baptist Church in Knaresborough are out in force, raising the roof with the popular hymn 'All Glory Laud and Honour'. But a couple of verses in they're abruptly halted by the conductor, Paul Leddington Wright. 'We're going to do that for the third time, and this time we're going to do it better,' he instructs them. 'I'm hearing a nice tune, but I'm not hearing the words. I need clear diction.'
He pauses, listening to instructions from the producer through his earpiece, then signals that he's ready to start again, 'Heads up everyone, happy faces!'.
One of the first things that anyone who has ever been involved in a TV programme discovers is that a lot more work goes on behind the scenes than the viewer ever realises. And Songs of Praise is no exception. During 2010 two editions of the show are scheduled to be broadcast from the North Yorkshire town of Knaresborough – one of which is due to be shown on Palm Sunday and the other during the summer. The filming for both sets of hymns is taking place this evening followed by an all-day session on Saturday – 10 hours filming for less than an hour of screen time.
Paul is the former musical director for Coventry Cathedral and one of the regular conductors for Songs of Praise. His role is to coach the congregation and choir through the hymns whilst liaising with the production team. The choir will have got the music about a fortnight in advance and will have been rehearsing the descants, but many of the congregation won't have been on the receiving end of musical tuition since school. The mood is upbeat and positive however, and the standard of singing is better than anything I've heard in church for a very long time.
It's amazing to think that Songs of Praise has now been going for almost 50 years. The very first episode was broadcast from the Tabernacle Baptist Church in Cardiff in October 1961. Since then it has visited over 1,800 churches and featured over 12,500 hymns and has an average of 3 million viewers weekly. Originally it was just hymns but now it includes interviews in which members of the congregation discuss their faith. The current main presenters include Sally Magnusson, Pam Rhodes, Diane-Louise Jordan and Eamonn Holmes. This episode will feature Aled Jones, who will be arriving tomorrow to be filmed both as part of the congregation and doing some short pieces to camera.
Chatting to the series editor, David Taviner, I ask how Knaresborough came to be chosen to appear on Songs of Praise. 'Across the year we need to have a balance,' he explains. 'Covering everything from cathedrals to chapels, rural and urban settings and of course with a geographical spread. Linking in with significant times of year such as Christmas, Easter and Remembrance Sunday is also important. Knaresborough has a special association with Maundy Thursday, which takes place just before Easter, so it seemed an ideal venue to film for an episode that could be shown on Palm Sunday.
The link is that the tradition of Maundy Money, silver coins given to deserving poor people by the monarch on Maundy Thursday is one that started in Knaresborough back in 1210 when King John was the first to distribute it. This year is the 800th anniversary of that event, and the Knaresborough celebrations will include a specially minted coin being given out to all the primary school children in the town, some of whom will be interviewed by Aled for the programme. The family of the late Arnold Kellett, who discovered the link between Knaresborough and the Maundy Money tradition are also due to be interviewed.
The following morning is bright and crisp and St John's, much of which dates from the C14th looks beautiful. The congregation arrives, dressed smartly but warmly against the wintry chill. Outfits that will look perfectly suitable for the programme to be shown in March, but could strike an incongruous note for the second one in high summer. I speculate as to whether they'll get round it by only showing footage of people who've taken their coats off.
Paul Leddington Wright soon gets everyone in full voice. He combines his passion for the music with the rallying qualities of a holiday camp rep. One moment pulling singers into line, 'I saw one or two people take a breath when they shouldn't have', the next encouraging them 'You're doing very well, my dears. It's hard work, but it's going to be worth it.'
I had hoped to interview some members of the congregation in the tea break but gradually it dawns on me that there isn't going to be one. So I hang out in the vestry which is full of cables and unidentifiable bits of technical equipment. The producer is watching the filming on three monitors, each one linked to a camera in the main church. It's explained to me that sometimes they do retakes for sound reasons, and other times it's more a technical issue – maybe someone in shot will have fidgeted or blown their nose. Then the whole section has to be filmed again.
Over at the Church Hall, Shona Bostwick, the Verger of St John's is working hard making the final preparations to the lunch that the ladies have put on for Aled and the production crew. The tables are groaning under the weight of the impressive spread - sandwiches, sausage rolls, pork pies and hot cross buns. The cakes were baked by Reverend Sewell herself.
I ask Shona how she feels about Songs of Praise being filmed here, 'Oh, I think it's lovely,' she says, topping up the urn. 'We've got a wonderful congregation and the church building is magnificent – we're very proud of it.' Shona is a regular Songs of Praise viewer. 'I enjoy the hymns and it's interesting to look round other churches - it's a bit like property programmes where you get to look round other people's houses. We're all a bit nosy at heart, aren't we?' She's not so keen about appearing on screen herself however, 'I'd rather stay away from the camera if I can. I've been hiding behind a pillar all morning.'
Finally it's the lunch break. Some of the congregation go into town for lunch whilst others stay in their pew with flask and sandwiches. The local schoolchildren pass round bags of sweets and fiddle with their mobile phones but remain as astonishingly well-behaved as they have been all morning. Knaresborough clearly rears its young with a firm hand.
I take the chance to catch up with Reverend Elizabeth Sewell, 54, the Rector of St John's. Rev Sewell, has been in Knaresborough for the past two and a half years and was approached about getting involved with the program last autumn. 'My first response was, yes, let's go for it.' she says. 'I thought it would be a wonderful opportunity to show off St John's and to bring Knaresborough together as a community. And there's no doubt that Knaresborough is chuffed to bits to be part of it – it's one of the main topics of conversation round here at the moment.
Tentatively, I raise the somewhat delicate issue of congregation size. Do they normally have this sort of turn-out or does she think there are some who are here because they fancy the idea of being on TV? 'Well, there are 400 people here today and our usual Sunday congregation is about 140,' says Elizabeth. 'But in one of the initial meetings with the producer she said it was really important to pack the church. However, Knaresborough has a strong sense of community and I was sure that they would come. So we provided the production team with contact details for the other churches in Knaresborough and I believe they also got in touch with the local choral societies and our local newspaper helped. But if anyone has come just to be on the telly I really don't have a problem with that. I see it as an chance to get people here who might not have been to church for a while – and maybe the experience will encourage them to visit us again.'
Reverend Sewell is also keen to be part of a programme that she feels is especially important for housebound people. 'I know many people who can't get to church for health reasons, so Songs of Praise offers a way they can enjoy a service in their own home. I'm hoping that we can reach out to them through the cameras and help them feel part of a worshipping community.'
At the end of our chat I can't resist asking if she ever finds herself on the receiving end of Vicar of Dibley jokes. Rev Sewell laughs. 'Not really. I think we're more mainstream these days so fewer people think to comment. But when I was at Theological College I shared a house with 4 other trainee women vicars it was absolutely required viewing for us!'
Next I seize the opportunity to talk to Aled for a few minutes. He's warm, unaffected and far more handsome in real life than on screen. I ask him why he thinks Songs of Praise holds such an enduring appeal. 'It's like the world's largest karaoke,' he replies. 'People have grown up singing these hymns and they're much-loved. And because the show goes round the country it's got a travelogue element so it can also appeal to people who don't see themselves as religious. Some say it should be modernised, but many of the issues it tackles during the interviews are challenging ones and very relevant to modern life.'
As the break draws to a close the ladies of the choir re-apply their lipstick, powder their noses and prepare their vocal chords for another demanding session. The afternoon is filled with more rehearsals and filming, but no-one's energy shows signs of flagging. Whilst some lighting is being adjusted, I ask a group of children from St James' school in Knaresborough what they've thought of the experience. 'It's tiring but good fun,' says Kitty West, 13. 'We're all looking forward to watching it with our family and friends – it'll be cool to see ourselves on TV rather than just famous people. And I'm sure we'll all be talking about it at school afterwards. It's something we'll look back on and remember all our lives.'
He pauses, listening to instructions from the producer through his earpiece, then signals that he's ready to start again, 'Heads up everyone, happy faces!'.
One of the first things that anyone who has ever been involved in a TV programme discovers is that a lot more work goes on behind the scenes than the viewer ever realises. And Songs of Praise is no exception. During 2010 two editions of the show are scheduled to be broadcast from the North Yorkshire town of Knaresborough – one of which is due to be shown on Palm Sunday and the other during the summer. The filming for both sets of hymns is taking place this evening followed by an all-day session on Saturday – 10 hours filming for less than an hour of screen time.
Paul is the former musical director for Coventry Cathedral and one of the regular conductors for Songs of Praise. His role is to coach the congregation and choir through the hymns whilst liaising with the production team. The choir will have got the music about a fortnight in advance and will have been rehearsing the descants, but many of the congregation won't have been on the receiving end of musical tuition since school. The mood is upbeat and positive however, and the standard of singing is better than anything I've heard in church for a very long time.
It's amazing to think that Songs of Praise has now been going for almost 50 years. The very first episode was broadcast from the Tabernacle Baptist Church in Cardiff in October 1961. Since then it has visited over 1,800 churches and featured over 12,500 hymns and has an average of 3 million viewers weekly. Originally it was just hymns but now it includes interviews in which members of the congregation discuss their faith. The current main presenters include Sally Magnusson, Pam Rhodes, Diane-Louise Jordan and Eamonn Holmes. This episode will feature Aled Jones, who will be arriving tomorrow to be filmed both as part of the congregation and doing some short pieces to camera.
Chatting to the series editor, David Taviner, I ask how Knaresborough came to be chosen to appear on Songs of Praise. 'Across the year we need to have a balance,' he explains. 'Covering everything from cathedrals to chapels, rural and urban settings and of course with a geographical spread. Linking in with significant times of year such as Christmas, Easter and Remembrance Sunday is also important. Knaresborough has a special association with Maundy Thursday, which takes place just before Easter, so it seemed an ideal venue to film for an episode that could be shown on Palm Sunday.
The link is that the tradition of Maundy Money, silver coins given to deserving poor people by the monarch on Maundy Thursday is one that started in Knaresborough back in 1210 when King John was the first to distribute it. This year is the 800th anniversary of that event, and the Knaresborough celebrations will include a specially minted coin being given out to all the primary school children in the town, some of whom will be interviewed by Aled for the programme. The family of the late Arnold Kellett, who discovered the link between Knaresborough and the Maundy Money tradition are also due to be interviewed.
The following morning is bright and crisp and St John's, much of which dates from the C14th looks beautiful. The congregation arrives, dressed smartly but warmly against the wintry chill. Outfits that will look perfectly suitable for the programme to be shown in March, but could strike an incongruous note for the second one in high summer. I speculate as to whether they'll get round it by only showing footage of people who've taken their coats off.
Paul Leddington Wright soon gets everyone in full voice. He combines his passion for the music with the rallying qualities of a holiday camp rep. One moment pulling singers into line, 'I saw one or two people take a breath when they shouldn't have', the next encouraging them 'You're doing very well, my dears. It's hard work, but it's going to be worth it.'
I had hoped to interview some members of the congregation in the tea break but gradually it dawns on me that there isn't going to be one. So I hang out in the vestry which is full of cables and unidentifiable bits of technical equipment. The producer is watching the filming on three monitors, each one linked to a camera in the main church. It's explained to me that sometimes they do retakes for sound reasons, and other times it's more a technical issue – maybe someone in shot will have fidgeted or blown their nose. Then the whole section has to be filmed again.
Over at the Church Hall, Shona Bostwick, the Verger of St John's is working hard making the final preparations to the lunch that the ladies have put on for Aled and the production crew. The tables are groaning under the weight of the impressive spread - sandwiches, sausage rolls, pork pies and hot cross buns. The cakes were baked by Reverend Sewell herself.
I ask Shona how she feels about Songs of Praise being filmed here, 'Oh, I think it's lovely,' she says, topping up the urn. 'We've got a wonderful congregation and the church building is magnificent – we're very proud of it.' Shona is a regular Songs of Praise viewer. 'I enjoy the hymns and it's interesting to look round other churches - it's a bit like property programmes where you get to look round other people's houses. We're all a bit nosy at heart, aren't we?' She's not so keen about appearing on screen herself however, 'I'd rather stay away from the camera if I can. I've been hiding behind a pillar all morning.'
Finally it's the lunch break. Some of the congregation go into town for lunch whilst others stay in their pew with flask and sandwiches. The local schoolchildren pass round bags of sweets and fiddle with their mobile phones but remain as astonishingly well-behaved as they have been all morning. Knaresborough clearly rears its young with a firm hand.
I take the chance to catch up with Reverend Elizabeth Sewell, 54, the Rector of St John's. Rev Sewell, has been in Knaresborough for the past two and a half years and was approached about getting involved with the program last autumn. 'My first response was, yes, let's go for it.' she says. 'I thought it would be a wonderful opportunity to show off St John's and to bring Knaresborough together as a community. And there's no doubt that Knaresborough is chuffed to bits to be part of it – it's one of the main topics of conversation round here at the moment.
Tentatively, I raise the somewhat delicate issue of congregation size. Do they normally have this sort of turn-out or does she think there are some who are here because they fancy the idea of being on TV? 'Well, there are 400 people here today and our usual Sunday congregation is about 140,' says Elizabeth. 'But in one of the initial meetings with the producer she said it was really important to pack the church. However, Knaresborough has a strong sense of community and I was sure that they would come. So we provided the production team with contact details for the other churches in Knaresborough and I believe they also got in touch with the local choral societies and our local newspaper helped. But if anyone has come just to be on the telly I really don't have a problem with that. I see it as an chance to get people here who might not have been to church for a while – and maybe the experience will encourage them to visit us again.'
Reverend Sewell is also keen to be part of a programme that she feels is especially important for housebound people. 'I know many people who can't get to church for health reasons, so Songs of Praise offers a way they can enjoy a service in their own home. I'm hoping that we can reach out to them through the cameras and help them feel part of a worshipping community.'
At the end of our chat I can't resist asking if she ever finds herself on the receiving end of Vicar of Dibley jokes. Rev Sewell laughs. 'Not really. I think we're more mainstream these days so fewer people think to comment. But when I was at Theological College I shared a house with 4 other trainee women vicars it was absolutely required viewing for us!'
Next I seize the opportunity to talk to Aled for a few minutes. He's warm, unaffected and far more handsome in real life than on screen. I ask him why he thinks Songs of Praise holds such an enduring appeal. 'It's like the world's largest karaoke,' he replies. 'People have grown up singing these hymns and they're much-loved. And because the show goes round the country it's got a travelogue element so it can also appeal to people who don't see themselves as religious. Some say it should be modernised, but many of the issues it tackles during the interviews are challenging ones and very relevant to modern life.'
As the break draws to a close the ladies of the choir re-apply their lipstick, powder their noses and prepare their vocal chords for another demanding session. The afternoon is filled with more rehearsals and filming, but no-one's energy shows signs of flagging. Whilst some lighting is being adjusted, I ask a group of children from St James' school in Knaresborough what they've thought of the experience. 'It's tiring but good fun,' says Kitty West, 13. 'We're all looking forward to watching it with our family and friends – it'll be cool to see ourselves on TV rather than just famous people. And I'm sure we'll all be talking about it at school afterwards. It's something we'll look back on and remember all our lives.'
Thursday, 25 August 2011
Candis - Behind the Scenes, Lark Rise to Candleford
It's 9.30am on the set of hit BBC series Lark Rise to Candleford and Julia Sawallha, who plays vivacious, independent postmistress Dorcas Lane has just been laced into her corset and decked out in a high-necked blouse and long skirt by a wardrobe assistant. It creates a miniscule waistline, as befits a Victorian lady, but Julia makes light of the discomfort. 'I've worn this corset for three series and it's like an old friend now,' she says. 'Though I must admit I'm not too keen on some of the fashions and hairstyles that Dorcas wears. I think it was a very unflattering period – everything was so formal and buttoned-up!'
The programme is set in 1897, and based on the semi-autobiographical trilogy of books by Flora Thompson. The stories are seen through the eyes of young Laura Timmins, who comes from the rural hamet of Lark Rise and goes to work with her mother's cousin, Dorcas in bustling, go-ahead Candleford and experiences torn loyaties between age-old traditions and the new opportunities that are opening up for women.
Olivia Hallinan, who has been playing Laura since the first series in 2007 says she really enjoys it. 'Today's media portrayal of young women can sometimes seem to be that they're outrageous ladettes, so it's refreshing to play a girl like Laura, who is quite reserved but has a determined, feisty character. Young people were innocent for longer in those days and there was so much joy over the simplest things. And I love the sense of neighbourliness in the programme – the way that young and old people mix in together and learn from each other.'
Julia and Olivia have already been in hair and make-up for an hour and a half and this site, known as 'unit base' is buzzing with activity. There are 85 people involved in today's shoot, ranging from sound and camera technicians to make-up artists and drivers, as well as the cast and extras, or 'supporting artists' as they're now called. A catering van is doing a brisk trade supplying porridge and fry-ups to fortify everyone for the 12 hour day ahead.
The actors' trailers, production offices and catering are all based here. Nearby are two other sites, one being the set of the village of Lark Rise, the other the town of Candleford. The filming takes place in beautiful, rolling countryside near Bath, but the exact locations are kept top secret, to avoid them being overrun by devoted fans.
The scene filmed this morning is at the Lark Rise set, which has been built by the props department and is astonishingly realistic, even close-up. It involves a dispute about ownership of a prize pig, in which the Candleford folk confront the Lark Risers. The player of this particular starring role is two-year old Lady, provided by Pam Weaver whose agency Almost Human supplies animals for film sets. 'She's very gentle and loves being with people, so I'm sure she'll enjoy the day,' says Pam.
As shooting begins it soon becomes apparent that patience is an vital characteristic for work on a film set. The director is a perfectionist and talks the cast through exactly how he wants the arrival of the Candleford people to be choreographed, and how the dialogue should be delivered.
The scene is rehearsed and then shot from different angles. Then the director decides he wants more light and some strapping electricians, or 'sparks' as they're known in the industry, erect a tripod of ladders to support an additional lighting rig. Then the scene is shot again and again, using different camera angles and focusing on different characters each time. Later, in post-production, decisions will be made about which version to use. In the meantime the cast keep have to keep their acting as fresh as it was the very first time – or ideally, fresher. This process is repeated for every scene – it takes twelve 14 hour days to film a single hour-long episode of Lark Rise to Candleford.
This particular scene features a new character, Gabriel Cochrane, a handsome stranger with a tragic past who brings mystery and a frisson of romance to Candleford. Richard Harrington, who plays him has thoroughly enjoyed joining the show. 'I've been given some gripping storylines and as far as the cast and crew are concerned, I couldn't have wished for a warmer welcome.'
In between takes the hair and make-up ladies swoop on the cast and extras to check if they need touching-up. 'I love working on period dramas,' says Hair and Make-up Designer Lesley Faulkener, who leads a team of four. 'You can be so creative. And we're very lucky in our supporting artists – the guys are willing to grow beards and even mutton-chop whiskers so they look authentic for the time period. And the ladies accept that they're not allowed to dye their hair.
Samantha Jenkins, 28, works part-time as a supporting artist whilst also studying at University. 'It's great because there's a lot of hanging around, so I can bring my textbooks and revise for exams,' she says. 'And my mum adores the fact I'm in this programme – she scans every crowd scene looking out for me.'
The time pressure is on, as the child actors in the scene are only legally permitted to work for a set number of hours a day and the part of the scene involving them has to be completed by then. Thankfully, it's completed on schedule and they can go off with their tutors to the trailers where they have lessons to ensure their schoolwork is kept up to date.
It's late afternoon before the main cast and crew make it back to unit base and a dinner of lamb stew, veggie curry or plaice is served. Copies of new scripts are handed out and the cast pounce on them. ''We only get scripts one episode ahead,' explains Oliva. 'So when they arrive we're all longing to know what's in store for our characters.'
The break is only temporary though. Soon everyone is whisked off in a fleet of cars to the Candeford set to film an evening scene between the characters of Alf and Minne, which is scheduled to end at 10pm. But at least it's not a night shoot. They are filmed between 6pm – 6am and many of the actors find it throws their body clock completely out. 'At 3am it can be difficult enough not to walk into the furniture, let alone act,' admits Julia. 'But there's a huge sense of cameraderie on set and we all keep each other going.'
It's dark when shooting finally ends and the techical crew pack, who've worked a 14 hour day, pack their equipment away. There's the sense that it's been a tough but rewarding day. Ben Aldridge, who plays journalist Daniel Parish sums it up, 'Everyone really cares about the series and cares about the viewers. Lark Rise to Candleford has won a place in the nation's hearts because although it's set in the past the stories deal with issues such as love, money worries, and the ups and downs of family life, which are just as relevant to us in the present.'
The programme is set in 1897, and based on the semi-autobiographical trilogy of books by Flora Thompson. The stories are seen through the eyes of young Laura Timmins, who comes from the rural hamet of Lark Rise and goes to work with her mother's cousin, Dorcas in bustling, go-ahead Candleford and experiences torn loyaties between age-old traditions and the new opportunities that are opening up for women.
Olivia Hallinan, who has been playing Laura since the first series in 2007 says she really enjoys it. 'Today's media portrayal of young women can sometimes seem to be that they're outrageous ladettes, so it's refreshing to play a girl like Laura, who is quite reserved but has a determined, feisty character. Young people were innocent for longer in those days and there was so much joy over the simplest things. And I love the sense of neighbourliness in the programme – the way that young and old people mix in together and learn from each other.'
Julia and Olivia have already been in hair and make-up for an hour and a half and this site, known as 'unit base' is buzzing with activity. There are 85 people involved in today's shoot, ranging from sound and camera technicians to make-up artists and drivers, as well as the cast and extras, or 'supporting artists' as they're now called. A catering van is doing a brisk trade supplying porridge and fry-ups to fortify everyone for the 12 hour day ahead.
The actors' trailers, production offices and catering are all based here. Nearby are two other sites, one being the set of the village of Lark Rise, the other the town of Candleford. The filming takes place in beautiful, rolling countryside near Bath, but the exact locations are kept top secret, to avoid them being overrun by devoted fans.
The scene filmed this morning is at the Lark Rise set, which has been built by the props department and is astonishingly realistic, even close-up. It involves a dispute about ownership of a prize pig, in which the Candleford folk confront the Lark Risers. The player of this particular starring role is two-year old Lady, provided by Pam Weaver whose agency Almost Human supplies animals for film sets. 'She's very gentle and loves being with people, so I'm sure she'll enjoy the day,' says Pam.
As shooting begins it soon becomes apparent that patience is an vital characteristic for work on a film set. The director is a perfectionist and talks the cast through exactly how he wants the arrival of the Candleford people to be choreographed, and how the dialogue should be delivered.
The scene is rehearsed and then shot from different angles. Then the director decides he wants more light and some strapping electricians, or 'sparks' as they're known in the industry, erect a tripod of ladders to support an additional lighting rig. Then the scene is shot again and again, using different camera angles and focusing on different characters each time. Later, in post-production, decisions will be made about which version to use. In the meantime the cast keep have to keep their acting as fresh as it was the very first time – or ideally, fresher. This process is repeated for every scene – it takes twelve 14 hour days to film a single hour-long episode of Lark Rise to Candleford.
This particular scene features a new character, Gabriel Cochrane, a handsome stranger with a tragic past who brings mystery and a frisson of romance to Candleford. Richard Harrington, who plays him has thoroughly enjoyed joining the show. 'I've been given some gripping storylines and as far as the cast and crew are concerned, I couldn't have wished for a warmer welcome.'
In between takes the hair and make-up ladies swoop on the cast and extras to check if they need touching-up. 'I love working on period dramas,' says Hair and Make-up Designer Lesley Faulkener, who leads a team of four. 'You can be so creative. And we're very lucky in our supporting artists – the guys are willing to grow beards and even mutton-chop whiskers so they look authentic for the time period. And the ladies accept that they're not allowed to dye their hair.
Samantha Jenkins, 28, works part-time as a supporting artist whilst also studying at University. 'It's great because there's a lot of hanging around, so I can bring my textbooks and revise for exams,' she says. 'And my mum adores the fact I'm in this programme – she scans every crowd scene looking out for me.'
The time pressure is on, as the child actors in the scene are only legally permitted to work for a set number of hours a day and the part of the scene involving them has to be completed by then. Thankfully, it's completed on schedule and they can go off with their tutors to the trailers where they have lessons to ensure their schoolwork is kept up to date.
It's late afternoon before the main cast and crew make it back to unit base and a dinner of lamb stew, veggie curry or plaice is served. Copies of new scripts are handed out and the cast pounce on them. ''We only get scripts one episode ahead,' explains Oliva. 'So when they arrive we're all longing to know what's in store for our characters.'
The break is only temporary though. Soon everyone is whisked off in a fleet of cars to the Candeford set to film an evening scene between the characters of Alf and Minne, which is scheduled to end at 10pm. But at least it's not a night shoot. They are filmed between 6pm – 6am and many of the actors find it throws their body clock completely out. 'At 3am it can be difficult enough not to walk into the furniture, let alone act,' admits Julia. 'But there's a huge sense of cameraderie on set and we all keep each other going.'
It's dark when shooting finally ends and the techical crew pack, who've worked a 14 hour day, pack their equipment away. There's the sense that it's been a tough but rewarding day. Ben Aldridge, who plays journalist Daniel Parish sums it up, 'Everyone really cares about the series and cares about the viewers. Lark Rise to Candleford has won a place in the nation's hearts because although it's set in the past the stories deal with issues such as love, money worries, and the ups and downs of family life, which are just as relevant to us in the present.'
Sunday Express - An Ode to Lakeland
Lakeland is a kitchen and homeware company with 35 shops and a thriving mail-order business. But it's much, much more than that. Over the years it's become a Middle-England cult, with enthusiastic devotees. When I canvassed opinions among my friends, the responses were uniformly gushing. 'My loyalty to them is total,' announced Katie. 'I wouldn't dream of buying anything for my kitchen anywhere else.' 'Just looking at the catalogue makes me feel cheery and domesticated,' said Gemma, 'it's like a window into a world where everything's calm, ordered and safe.' 'Don't mock my potato ricer,' railed Lucy when I teased her about her addiction to Lakeland gadgets, 'it produces lump-free mash perfection, every time!'
So how has a shop selling jumper de-bobblers and insulated gravy boats come to inspire such passion? I visited their flagship store in Windermere in the Lake District to find out. En route I did some research about the company, which was set up in 1963 by Alan Rayner and originally called Lakeland Plastics. It sold plastic sheeting such as haystack and silage covers to farmers, and as 'the home freezer revolution' had just kicked off, with housewives keen to enjoy the new-found freedom of cooking food ahead, Alan also supplied plastic bags for domestic use. His sons Martin, Sam, and Julian, who now run the company helped out as youngsters for pocket money, counting the polythene bags into packs of 100 in the garage of their Windermere home.
During the next forty years the business expanded rapidly, moving away from its farming beginnings and shifting firmly into domestic territory. The mail-order business thrived and the first shop was opened in the ex Station Master's House in the 1960s. After that shops were opened in York, Chester and Guildford, with new ones added gradually over the next four decades. In the early 1980s the Windermere flagship store moved to larger premises and in 1997 the 'Plastics' bit of the name was dropped and the company became known as just Lakeland.
The store is only a minute's walk from the railway station, and the building also houses the administrative centre and 24-hour call centre for the mail order business. The layout is spacious and well-ordered, with a fresh cream and wood colour scheme and a first floor restaurant which overlooks the Lake District beauty spots of Claiffe Heights and Coniston Old Man.
As I wander around I feel the familiar surge of covetousness that always sweeps over me when I'm in one of their shops. I'm suddenly gripped by a desire for a 3-tier draining rack, a collapsible colander and a jolly stoneware Hen's Nest for storing eggs. Because for all my laughing at Lucy's potato-ricer, the fact is that I have a secret Lakeland habit of my own. It started with a teabag squeezer a couple of years ago and after that I never looked back. I've discovered the soak-up sheets for when I defrost the freezer which means I don't have to re-enact the Tewkesbury floods every time it needs doing, a cheese grater which effortlessly produces professional-looking ribbons and heavy-bottomed saucepans which have become old friends.
As I'm gazing longingly at some baking trays, one of the assistants asks if she can help me and sounds as if she means it. In other Lakeland stores I've found one of the most consistent things is the helpfulness of the staff. It's like having a domestic agony aunt service where you can chat to someone about the difficulties you have with, say, getting ingrained tea-stains off your favourite cups and feel they're genuinely interested in helping you solve your problem. The solution to this particular one is the Magic Eraser Block, by the way – it's fantastic!
After my undercover reconnaissance I'm due to meet up with Matthew Canwell, Director of Buying who previously worked at Marks and Spencer. Over coffee he told me how he'd felt after his job interview at Lakeland. 'I went away really, really wanting to work for the company. I was so impressed by the Rayner brothers honesty and integrity, by the belief that if you give good customer service that everything else will fall in to place and I wanted to be part of that.'
One of the most important parts of customer service is, of course, getting the right staff and I ask him how they manage that in a world where so many shop assistants see spending most of their day standing around chatting to colleagues about their holidays and nights out as one of the perks of their job. 'It's an interesting question, but we just don't seem to attract people like that,' Matthew replies. 'I think people who want to work for us are the type who take a pride in their job. Anyone who just wants to stack shelves and isn't interested in taking responsibility would be more suited to working somewhere else.'
As well as the shops there's the call centre, which serves the mail order business. There are currently 188 staff working there and Lakeland is a significant employer in Windermere. 'Customers often say how they love hearing the local accents,' says Matthew. 'They like it that there's that solid connection to our geographical area.' Refreshingly there's no holding system with the calls and you're put straight through to an advisor. No buttons to press, no music, no having to listen to insincere nonsense about how 'your call is important to us' whilst being kept online for hours.
Then we talk about how current trends in society are being reflected in sales. 'There's a move towards feeling that home-cooked is best,' says Matthew, 'and our bakeware sales have doubled in the past year. There's a growing emphasis on getting children involved with cooking and we've found our 'kids in the kitchen' products such as the child-sized bakeware set and little chef's apron have really taken off. People are increasingly interested in healthy eating so any kitchenware to do with preparing fruit or low-fat frying is very popular.'
And at a time when green concerns are being joined by a ones about a chillier economic climate, products linked to recycling and thriftiness such as composting bins and energy-efficient slow cookers are also gaining ground.
Then of course there are the perennially popular gadgets. 'People do know us for gadgets and sometimes we get teased about them,' admits Matthew. 'The classic example is the banana guard, which fits every shape of banana and stops it from getting squashed in your bag. But the fact is we wouldn't sell something if we didn't think it did its job well. If people laughed at the banana guard because it didn't work, we'd be worried but actually we know lots of people find it really useful, so we're big enough to take a bit of teasing.'
Lakeland clearly enjoys being at the cutting edge of domestic developments as well. Matthew produces the iRobot Roomba Vacuum cleaner to show me. It's a cute little UFO-shaped vacuum which doesn't actually need operating by a human being. Instead you press a button and it uses sensors to methodically work its way around the room. The general idea is that you can set it going before you set off for work in the morning and then when you get back it will have completely done one level of your home, including under the furniture (though sadly, like a Dalek it has yet to get the hang of stairs). Now, when I was a child back in the 1970s I distinctly remember we were promised that by the 21st Century we'd have robots to do our housework – nice to see we're finally making progress on that one!
Then we're joined by Wendy Miranda, Lakeland's Customer Ambassador. The role is a unique one, and is all about developing the ongoing dialogue that Lakeland has always had with its customers. It was first taken by Michelle Kershaw, who joined the company in the 1970s, became a national authority on home freezing and ran the Lakeland Home Freezing Advisory Service. Over the years, Michelle developed a tremendous connection with the customers and when she died several years ago she was sadly missed by many of them, so much so that it wasn't until 2006 that it was felt her job could be filled by someone new.
Wendy has been with Lakeland for 15 years and used to manage the Tunbridge Wells store. 'I was appointed because it was becoming clear that customers wanted a real person, like Michelle that they could write to about suggestions for products, requests for old ones to be re-instated, and general feedback and complaints. My role isn't one that's tied in with budgets or sales targets, I'm here to be the voice of the customer.'
And Lakeland customers have certainly got a lot to say! The company receives 3,000 suggestions a month. 'Our customers are very vocal,' says Matthew. 'They tell us the direction they want the business to take and we respond to it – it's fantastically helpful actually, and I'm amazed more companies don't do the same.'
One way in which the dialogue proves useful is that customers who find a product they're keen on when travelling overseas will get in touch and suggest Lakeland stock it – that's how they came across their legendary Australian Soft Eating Liquorice.
They also get in touch about items they currently use but can't get hold of any more. 'For example, the Perfect Pastry Crisper in our present catalogue was developed after a customer had written in to suggest it,' explains Matthew. 'She owned a flan dish with a perforated base which allows the heat to circulate but hadn't been able to replace it. So she sent us a letter, together with some photographs of the dish and our buying team were able to track down a manufacturer who was producing them.'
And the dialogue with customers goes further than just product ideas. The catalogue is full of reader comments. For example the three-tier draining rack I'd been eyeing up in the shop earlier has its praises sung by Gladys Coleman of Worcestershire who writes in to say she 'loves her high-rise cookery drainer.'
Then in the letters page there's feedback from readers who've found extra uses for some of the products – from the Eclair tin which doubles up to make individual toad-in-the-holes to the the wine bottle stoppers which Morven White of Glasgow's husband finds invaluable when seasoning his bagpipes.
Wendy then whisks me away to show me a selection of the post she receives every day. There are letters of appreciation and thanks, ones expressing disappointment at the discontinuation of an old favourite, ones from elderly people reminiscing about Lakeland products they've used over the years. There's even a poem in one, an 'Ode to Lakeland' written in fountain pen. 'If people have taken the trouble to write in then of course we'll always write back,' says Wendy. 'It gives a nice sense of connection. Often I'll send people a little something, such as a box of biscuits as well.'
And of course there are complaints as well, but the Lakeland approach is to go the extra mile when it comes to sorting them out. Wendy tells me about a customer who'd ordered an oven thermometer as a present, but it had been delayed in the post. He'd got in touch with her and she immediately followed it up by calling his local Norwich store and having one sent round to him in a taxi, so it was with him within the hour.
The Lakeland philosophy isn't 'Domestic Godessy' in the sense of being showy-offy and insanely aspirational. It's about enriching people's real lives rather than trying to flog them some out-of-reach ideal. Acknowledging everyday annoyances whether that's recalcitrant jar lids, cluttered cupboards or bruised bananas and providing solutions to help life go more smoothly, it's closer to William Morris's maxim about 'have nothing in your home that you do not know to be useful or believe to be beautiful'.
And then of course there's the way it bucks the trend of valuing style over substance. Lakeland doesn't spend a fortune on adverts featuring overpaid celebrities who probably don't even know the way to their own kitchens, let alone have a clue what to do when they get there. Instead it relies on offering value for money, courteous service, listening to its customers and continually seeking out new and original products. In short, it provides a combination of old-fashioned values and robots that do your housework. What's not to like?
So how has a shop selling jumper de-bobblers and insulated gravy boats come to inspire such passion? I visited their flagship store in Windermere in the Lake District to find out. En route I did some research about the company, which was set up in 1963 by Alan Rayner and originally called Lakeland Plastics. It sold plastic sheeting such as haystack and silage covers to farmers, and as 'the home freezer revolution' had just kicked off, with housewives keen to enjoy the new-found freedom of cooking food ahead, Alan also supplied plastic bags for domestic use. His sons Martin, Sam, and Julian, who now run the company helped out as youngsters for pocket money, counting the polythene bags into packs of 100 in the garage of their Windermere home.
During the next forty years the business expanded rapidly, moving away from its farming beginnings and shifting firmly into domestic territory. The mail-order business thrived and the first shop was opened in the ex Station Master's House in the 1960s. After that shops were opened in York, Chester and Guildford, with new ones added gradually over the next four decades. In the early 1980s the Windermere flagship store moved to larger premises and in 1997 the 'Plastics' bit of the name was dropped and the company became known as just Lakeland.
The store is only a minute's walk from the railway station, and the building also houses the administrative centre and 24-hour call centre for the mail order business. The layout is spacious and well-ordered, with a fresh cream and wood colour scheme and a first floor restaurant which overlooks the Lake District beauty spots of Claiffe Heights and Coniston Old Man.
As I wander around I feel the familiar surge of covetousness that always sweeps over me when I'm in one of their shops. I'm suddenly gripped by a desire for a 3-tier draining rack, a collapsible colander and a jolly stoneware Hen's Nest for storing eggs. Because for all my laughing at Lucy's potato-ricer, the fact is that I have a secret Lakeland habit of my own. It started with a teabag squeezer a couple of years ago and after that I never looked back. I've discovered the soak-up sheets for when I defrost the freezer which means I don't have to re-enact the Tewkesbury floods every time it needs doing, a cheese grater which effortlessly produces professional-looking ribbons and heavy-bottomed saucepans which have become old friends.
As I'm gazing longingly at some baking trays, one of the assistants asks if she can help me and sounds as if she means it. In other Lakeland stores I've found one of the most consistent things is the helpfulness of the staff. It's like having a domestic agony aunt service where you can chat to someone about the difficulties you have with, say, getting ingrained tea-stains off your favourite cups and feel they're genuinely interested in helping you solve your problem. The solution to this particular one is the Magic Eraser Block, by the way – it's fantastic!
After my undercover reconnaissance I'm due to meet up with Matthew Canwell, Director of Buying who previously worked at Marks and Spencer. Over coffee he told me how he'd felt after his job interview at Lakeland. 'I went away really, really wanting to work for the company. I was so impressed by the Rayner brothers honesty and integrity, by the belief that if you give good customer service that everything else will fall in to place and I wanted to be part of that.'
One of the most important parts of customer service is, of course, getting the right staff and I ask him how they manage that in a world where so many shop assistants see spending most of their day standing around chatting to colleagues about their holidays and nights out as one of the perks of their job. 'It's an interesting question, but we just don't seem to attract people like that,' Matthew replies. 'I think people who want to work for us are the type who take a pride in their job. Anyone who just wants to stack shelves and isn't interested in taking responsibility would be more suited to working somewhere else.'
As well as the shops there's the call centre, which serves the mail order business. There are currently 188 staff working there and Lakeland is a significant employer in Windermere. 'Customers often say how they love hearing the local accents,' says Matthew. 'They like it that there's that solid connection to our geographical area.' Refreshingly there's no holding system with the calls and you're put straight through to an advisor. No buttons to press, no music, no having to listen to insincere nonsense about how 'your call is important to us' whilst being kept online for hours.
Then we talk about how current trends in society are being reflected in sales. 'There's a move towards feeling that home-cooked is best,' says Matthew, 'and our bakeware sales have doubled in the past year. There's a growing emphasis on getting children involved with cooking and we've found our 'kids in the kitchen' products such as the child-sized bakeware set and little chef's apron have really taken off. People are increasingly interested in healthy eating so any kitchenware to do with preparing fruit or low-fat frying is very popular.'
And at a time when green concerns are being joined by a ones about a chillier economic climate, products linked to recycling and thriftiness such as composting bins and energy-efficient slow cookers are also gaining ground.
Then of course there are the perennially popular gadgets. 'People do know us for gadgets and sometimes we get teased about them,' admits Matthew. 'The classic example is the banana guard, which fits every shape of banana and stops it from getting squashed in your bag. But the fact is we wouldn't sell something if we didn't think it did its job well. If people laughed at the banana guard because it didn't work, we'd be worried but actually we know lots of people find it really useful, so we're big enough to take a bit of teasing.'
Lakeland clearly enjoys being at the cutting edge of domestic developments as well. Matthew produces the iRobot Roomba Vacuum cleaner to show me. It's a cute little UFO-shaped vacuum which doesn't actually need operating by a human being. Instead you press a button and it uses sensors to methodically work its way around the room. The general idea is that you can set it going before you set off for work in the morning and then when you get back it will have completely done one level of your home, including under the furniture (though sadly, like a Dalek it has yet to get the hang of stairs). Now, when I was a child back in the 1970s I distinctly remember we were promised that by the 21st Century we'd have robots to do our housework – nice to see we're finally making progress on that one!
Then we're joined by Wendy Miranda, Lakeland's Customer Ambassador. The role is a unique one, and is all about developing the ongoing dialogue that Lakeland has always had with its customers. It was first taken by Michelle Kershaw, who joined the company in the 1970s, became a national authority on home freezing and ran the Lakeland Home Freezing Advisory Service. Over the years, Michelle developed a tremendous connection with the customers and when she died several years ago she was sadly missed by many of them, so much so that it wasn't until 2006 that it was felt her job could be filled by someone new.
Wendy has been with Lakeland for 15 years and used to manage the Tunbridge Wells store. 'I was appointed because it was becoming clear that customers wanted a real person, like Michelle that they could write to about suggestions for products, requests for old ones to be re-instated, and general feedback and complaints. My role isn't one that's tied in with budgets or sales targets, I'm here to be the voice of the customer.'
And Lakeland customers have certainly got a lot to say! The company receives 3,000 suggestions a month. 'Our customers are very vocal,' says Matthew. 'They tell us the direction they want the business to take and we respond to it – it's fantastically helpful actually, and I'm amazed more companies don't do the same.'
One way in which the dialogue proves useful is that customers who find a product they're keen on when travelling overseas will get in touch and suggest Lakeland stock it – that's how they came across their legendary Australian Soft Eating Liquorice.
They also get in touch about items they currently use but can't get hold of any more. 'For example, the Perfect Pastry Crisper in our present catalogue was developed after a customer had written in to suggest it,' explains Matthew. 'She owned a flan dish with a perforated base which allows the heat to circulate but hadn't been able to replace it. So she sent us a letter, together with some photographs of the dish and our buying team were able to track down a manufacturer who was producing them.'
And the dialogue with customers goes further than just product ideas. The catalogue is full of reader comments. For example the three-tier draining rack I'd been eyeing up in the shop earlier has its praises sung by Gladys Coleman of Worcestershire who writes in to say she 'loves her high-rise cookery drainer.'
Then in the letters page there's feedback from readers who've found extra uses for some of the products – from the Eclair tin which doubles up to make individual toad-in-the-holes to the the wine bottle stoppers which Morven White of Glasgow's husband finds invaluable when seasoning his bagpipes.
Wendy then whisks me away to show me a selection of the post she receives every day. There are letters of appreciation and thanks, ones expressing disappointment at the discontinuation of an old favourite, ones from elderly people reminiscing about Lakeland products they've used over the years. There's even a poem in one, an 'Ode to Lakeland' written in fountain pen. 'If people have taken the trouble to write in then of course we'll always write back,' says Wendy. 'It gives a nice sense of connection. Often I'll send people a little something, such as a box of biscuits as well.'
And of course there are complaints as well, but the Lakeland approach is to go the extra mile when it comes to sorting them out. Wendy tells me about a customer who'd ordered an oven thermometer as a present, but it had been delayed in the post. He'd got in touch with her and she immediately followed it up by calling his local Norwich store and having one sent round to him in a taxi, so it was with him within the hour.
The Lakeland philosophy isn't 'Domestic Godessy' in the sense of being showy-offy and insanely aspirational. It's about enriching people's real lives rather than trying to flog them some out-of-reach ideal. Acknowledging everyday annoyances whether that's recalcitrant jar lids, cluttered cupboards or bruised bananas and providing solutions to help life go more smoothly, it's closer to William Morris's maxim about 'have nothing in your home that you do not know to be useful or believe to be beautiful'.
And then of course there's the way it bucks the trend of valuing style over substance. Lakeland doesn't spend a fortune on adverts featuring overpaid celebrities who probably don't even know the way to their own kitchens, let alone have a clue what to do when they get there. Instead it relies on offering value for money, courteous service, listening to its customers and continually seeking out new and original products. In short, it provides a combination of old-fashioned values and robots that do your housework. What's not to like?
Sunday Express - Driving Miss Crazy
Having a car is fun and fabulous. But sometimes the world of motoring can feel like the final frontier for the modern woman. Your word might be law in the boardroom, but turn up at a car dealership with your husband and there's still a good chance that the salesman with direct all his patter at your other half and ignore your questions. And never mind how switched-on financially you are when it comes to other areas of your life – when some grimy car car mechanic is sucking air in through his teeth and telling you it's going to cost you £450 to get your cranksprocket realigned, it's easy to feel out of your depth.
The stock answer to this situation is that a woman shouldn't bother her pretty head with such matters and instead get the nearest available male to help her out. But many women either don't have vast quantities of car-savvy blokes immediately to hand or would rather be independent anyway. And these days maleness is by no means an automatic guarantee of mechanical competence.
'In the past a lot of men used to do their own maintenance and repairs, but over the last twenty years that's really dropped off,' says Steve Fowler, editor of What Car?. 'This is partly because cars are becoming more complex and partly because of the pressures of time and modern life. That means nowadays the average bloke wouldn't necessarily know any more than the average woman – though he'd probably feel he had to pretend he did. Women can actually make better car buyers because they're more pragmatic. If they're not particularly knowledgeable about cars they'll get stuck in and do the research rather than attempt to bluff their way through and that puts them in a stronger position.'
Getting up to speed on buying and running a car isn't nearly as difficult as people in the car trade and old blokes down the pub would have you believe – here are some basic guidelines to get you firmly in the driving seat.
Money and your motor
Let's say you need a new skirt and you see one for £40 and one for £70. If you go for the cheaper option you've saved £30. Unfortunately it's nowhere near as simple as that with cars. Because although a £4000 car will initially be cheaper than a £7000 one, if it needs loads of repairs, has poor fuel economy or is expensive to insure then all of a sudden it doesn't look like such a bargain. But then, some cheap cars can also be trouble-free and inexpensive to run. What's important is that you break down the different costs associated with car ownership and make decisions based on your individual needs.
For example when you're buying a car you need to look at the basic price if you're paying cash, or the basic price plus the cost of the interest payments if you're buying it with a loan or other finance agreement. And if you're planning on selling the car in a couple of years, is important to look at the depreciation (loss of value) that will have taken place by then. Some cars depreciate quite sharply whereas others, like the Mini hold their value relatively well.
Then there are the other running costs such as road tax, car insurance, breakdown cover, fuel, servicing, repairs, MOTs, trips to the carwash and maybe even the occasional parking ticket. It's a good idea to make a list and see where you can shave some money off. Shopping around for car insurance is an obvious one, as is buying the best value fuel. The website www.petrolprices.com which monitors forecourt prices around the UK can help you out here - just enter your postcode or town and the system lists the nearest filling stations and their current prices.
Repair costs can be scarily unpredictable – and sometimes very unfair. Although, broadly speaking, new and newish cars are more reliable than old bangers, it's frustrating when you've spent a sizeable chunk of your savings on a car which then keeps collapsing and demanding replacement camshafts and alternators within months of the warranty expiring whilst a friend whose elderly motor appears to be held together by string and mud sails effortlessly through its MOTs.
But one way of keeping repair costs down is by looking after your car as you would a treasured houseplant or much-loved pet. This means not skimping on services, which should be carried out at the intervals advised by the manufacturer, and performing regular maintenance checks.
Keep your Motor Running
Caring for your car doesn't mean donning greasy overalls and changing your own sparkplugs – unless that's something you're keen to have a go at, of course!
It is however vital that you check your car over regularly as it'll prevent problems and, more importantly, keep you and your family safe on the road.
Even if dealing with anything vaguely mechanical feels out of your comfort zone and you've always tended to see under the bonnet as a scary place, once you've done the checks a few times you'll be surprised at how quick and easy they actually are. You'll need your driver's manual which will give you information about the correct tyre pressures, show you the geography of what goes where under the bonnet and get you past any 'accidentally putting oil in the screenwash container' anxiety attacks.
A useful approach is to follow the POWDER sequence below about once a fortnight
P – petrol or other fuel
O – oil
W – windscreen washer, coolant and other fluid levels
D – damage to the vehicle
E - electrics (lights and battery)
R – rubber (tyres and windscreen wipers)
If you're not sure about how to do any of these checks, get an experienced friend or family member to show you. Doing the checks yourself rather than relying on the nearest available bloke is great in that it means you don't have to waste any of your valuable time on nagging, and it also helps you become more familiar with your vehicle. So if it develops any problems such as leaking fluids or making odd noises or smells then you'll be quicker to spot them and either deal with it yourself or take it to a garage.
The Girls' Guide to Garages
For overall happiness and peace of mind, having a capable, trustworthy garage on speed-dial is every bit as vital as tracking down the perfect hairdresser. But where do you find such a paragon of virtue? Personal recommendation is seen as the best way forwards, so ask around among family, friends and colleagues. If your car is still under warranty then you'll probably want to have it serviced by the franchised dealership, but charges and levels of service can vary even within the same franchise, so it's worth doing some reconnaissance on local dealerships before deciding which one to go for.
As far as independent garages go – they can be very good, very bad and all points in between. And the ways a garage can potentially rip you off are many and varied – they range from fabricating work that doesn't really need doing, to using a cheap brand of oil and charging you for the top-of-the-range variety to charging two hours labour for a job that really took them an hour. It's best to choose a garage that's a member of a trade federation such as The Retail Motor Industry Federation or The Motor Vehicles Repairers Association. Or better still, check out local garages signed up to the Motor Industry Code. This is a scheme developed by the motor industry to create a network of garages that customers can trust. Garages that join are agreeing to keep to certain standards and if you're not happy a free advice line is available. You can find details of local garages at www.motorindustrycode.co.uk or by phoning 0800 692 0825.
When using a new garage, it's a good idea to start off by having just a minor bit of work done initially, such as getting them to replace a headlight bulb or carry out a service. That way you can get a general feel for the place and suss out how friendly and reliable they are and whether they seem to be dealing fairly with you.
The garage environment can feel a bit unnerving to the uninitiated and trying to describe the precise nature of the odd clunky noise your car has been making to a bloke in a grimy overall over the background noise of someone welding and a radio playing Chris Moyles at full blast is, for most of us, a fast-track to feeling like a useless girlie. But it's important to behave confidently and not bang on about how little you know. Ask questions about what they're going to do, how much it's likely to cost and whether the charge includes VAT. When discussing prices, it's important to be aware of whether you're being given an estimate or a quote. Quotes should be supplied in writing and cover exactly what the garage plans to do, whilst estimates just give a rough cost. If possible, run this past car-savvy family, friends and colleagues to see if they nod approvingly or splutter out their coffee and squawk about how they're trying to rob you. Hopefully it'll be the former and you'll have just started a good relationship with the garage of your dreams.
Gotta New Motor?
The best time to start thinking about your next car is long before you need to buy it. If your old one has given up the ghost and you're lost without a car for work or the school run, you're not in a strong position when it comes to haggling at the showroom or shopping around for the perfect second-hand deal. Doing your research well in advance gives you time to consider your priorities, such as increased fuel economy or getting a larger car for a growing family. It's also a time when you can check out different makes of car. Many people often have loyalties towards a certain brand – it's a bit like families where they always have the same breed of dog – their much-loved Labrador or Westie passes on and after a respectful interval is replaced by another. Sometimes this is a good thing – after all, if you've always been happy with your Nissan Micra why bother to change? But when the time to get a new car comes round it is at least worth considering the options. Car manufacturers are changing all the time – Skodas used to be a bit of a joke, for example, but now they're very well-regarded. So flick through a few car magazines and maybe even test-drive a few cars you might not normally have considered. It's a bit like dating men who aren't your usual type or trying on clothes in a colour you wouldn't normally wear – sometimes you can be very pleasantly surprised!
Whether you're buying new or second-hand, one of the most important factors in getting a good deal is to do your research beforehand. This is where the internet is particularly useful – sites such as www.whatcar.com will not only give you the list price of different new and used models, but also the 'target price' – which deducts the discount you can reasonably expect to get. That means that you're not 'haggling in the dark' with a car salesman, but negotiating from a position of greater power. You can also look up the resale value of your current car, both as a trade-in or if you decide to sell it privately.
Buying from a Dealership
When you're buying a car from a dealership, it's important to bear in mind that they don't just make their money on selling cars but also on flogging finance deals, extended warranties, and making money on cars that have been traded in.
So a typical dealer strategy is to attempt to dazzle you with his generosity in one area, such as offering a decent discount on the car you're buying, while quietly stitching you up on the finance or your trade-in. However, if you've done your research beforehand and know the exact sums it'll be impossible for them to pull the wool over your eyes.
Since the credit crunch kicked in , car sales have plummeted so when it comes to haggling, remember that you're in a strong position. You can make it even stronger by going in at end of the month, or better still, the end of the quarter. Car dealers have targets to meet and if they haven't yet done so they'll be particularly keen to clinch sales at these times. And if you've got a car that's over ten years old then you might want to take advantage of the scrappage scheme. This is an arrangement whereby you get a £2000 incentive for scrapping your old car and buying a shiny new one. £1000 of this comes from the car industry and half from the government. But even if you go down this route it's still important to do your research and make sure you're getting the best possible deal and look at ways you can drive down the overall price of your car even further.
Buying Through a Private Sale
You can get a real bargain this way, but there are also far more pitfalls for the unwary. You've got very little legal comeback if the car turns out to be a complete crock, and you also need to be more vigilant about not getting landed with a stolen car. Always go to visit a private seller at their home, rather than letting them bring the car to you or meeting somewhere such as a motorway service station. And don't ever complete a sale without having all the relevant documentation such as the vehicle registration form. No matter how independent you are, it's best to bring someone else along when buying through a private sale as going for test drives or exchanging large sums of money with a complete stranger isn't a good idea.
Driving Disasters
The most important thing to remember about breakdowns is that prevention is better than cure – the more conscientious you are about checking your tyres, the less likely you are to get a puncture and avoiding overloading the battery means you're less likely to get a flat one. Join a breakdown organisation and always have a fully charged mobile phone in your car so you can summon help if needed. If you're the sort of girl who likes doing her own repairs then you'll probably feel confident changing a tyre at the side of the road. But if you're not there's no need to feel as if you're letting the suffragettes down by not having a go. For small punctures, a can of Holt's Tyreweld can save the day. It's an aerosol you squire through the tyre valve to seal the hole and inflate the tyre. It's only a temporary measure but the top speed you can go is about 50mph. But at least it can help you home or to the nearest garage.
The stock answer to this situation is that a woman shouldn't bother her pretty head with such matters and instead get the nearest available male to help her out. But many women either don't have vast quantities of car-savvy blokes immediately to hand or would rather be independent anyway. And these days maleness is by no means an automatic guarantee of mechanical competence.
'In the past a lot of men used to do their own maintenance and repairs, but over the last twenty years that's really dropped off,' says Steve Fowler, editor of What Car?. 'This is partly because cars are becoming more complex and partly because of the pressures of time and modern life. That means nowadays the average bloke wouldn't necessarily know any more than the average woman – though he'd probably feel he had to pretend he did. Women can actually make better car buyers because they're more pragmatic. If they're not particularly knowledgeable about cars they'll get stuck in and do the research rather than attempt to bluff their way through and that puts them in a stronger position.'
Getting up to speed on buying and running a car isn't nearly as difficult as people in the car trade and old blokes down the pub would have you believe – here are some basic guidelines to get you firmly in the driving seat.
Money and your motor
Let's say you need a new skirt and you see one for £40 and one for £70. If you go for the cheaper option you've saved £30. Unfortunately it's nowhere near as simple as that with cars. Because although a £4000 car will initially be cheaper than a £7000 one, if it needs loads of repairs, has poor fuel economy or is expensive to insure then all of a sudden it doesn't look like such a bargain. But then, some cheap cars can also be trouble-free and inexpensive to run. What's important is that you break down the different costs associated with car ownership and make decisions based on your individual needs.
For example when you're buying a car you need to look at the basic price if you're paying cash, or the basic price plus the cost of the interest payments if you're buying it with a loan or other finance agreement. And if you're planning on selling the car in a couple of years, is important to look at the depreciation (loss of value) that will have taken place by then. Some cars depreciate quite sharply whereas others, like the Mini hold their value relatively well.
Then there are the other running costs such as road tax, car insurance, breakdown cover, fuel, servicing, repairs, MOTs, trips to the carwash and maybe even the occasional parking ticket. It's a good idea to make a list and see where you can shave some money off. Shopping around for car insurance is an obvious one, as is buying the best value fuel. The website www.petrolprices.com which monitors forecourt prices around the UK can help you out here - just enter your postcode or town and the system lists the nearest filling stations and their current prices.
Repair costs can be scarily unpredictable – and sometimes very unfair. Although, broadly speaking, new and newish cars are more reliable than old bangers, it's frustrating when you've spent a sizeable chunk of your savings on a car which then keeps collapsing and demanding replacement camshafts and alternators within months of the warranty expiring whilst a friend whose elderly motor appears to be held together by string and mud sails effortlessly through its MOTs.
But one way of keeping repair costs down is by looking after your car as you would a treasured houseplant or much-loved pet. This means not skimping on services, which should be carried out at the intervals advised by the manufacturer, and performing regular maintenance checks.
Keep your Motor Running
Caring for your car doesn't mean donning greasy overalls and changing your own sparkplugs – unless that's something you're keen to have a go at, of course!
It is however vital that you check your car over regularly as it'll prevent problems and, more importantly, keep you and your family safe on the road.
Even if dealing with anything vaguely mechanical feels out of your comfort zone and you've always tended to see under the bonnet as a scary place, once you've done the checks a few times you'll be surprised at how quick and easy they actually are. You'll need your driver's manual which will give you information about the correct tyre pressures, show you the geography of what goes where under the bonnet and get you past any 'accidentally putting oil in the screenwash container' anxiety attacks.
A useful approach is to follow the POWDER sequence below about once a fortnight
P – petrol or other fuel
O – oil
W – windscreen washer, coolant and other fluid levels
D – damage to the vehicle
E - electrics (lights and battery)
R – rubber (tyres and windscreen wipers)
If you're not sure about how to do any of these checks, get an experienced friend or family member to show you. Doing the checks yourself rather than relying on the nearest available bloke is great in that it means you don't have to waste any of your valuable time on nagging, and it also helps you become more familiar with your vehicle. So if it develops any problems such as leaking fluids or making odd noises or smells then you'll be quicker to spot them and either deal with it yourself or take it to a garage.
The Girls' Guide to Garages
For overall happiness and peace of mind, having a capable, trustworthy garage on speed-dial is every bit as vital as tracking down the perfect hairdresser. But where do you find such a paragon of virtue? Personal recommendation is seen as the best way forwards, so ask around among family, friends and colleagues. If your car is still under warranty then you'll probably want to have it serviced by the franchised dealership, but charges and levels of service can vary even within the same franchise, so it's worth doing some reconnaissance on local dealerships before deciding which one to go for.
As far as independent garages go – they can be very good, very bad and all points in between. And the ways a garage can potentially rip you off are many and varied – they range from fabricating work that doesn't really need doing, to using a cheap brand of oil and charging you for the top-of-the-range variety to charging two hours labour for a job that really took them an hour. It's best to choose a garage that's a member of a trade federation such as The Retail Motor Industry Federation or The Motor Vehicles Repairers Association. Or better still, check out local garages signed up to the Motor Industry Code. This is a scheme developed by the motor industry to create a network of garages that customers can trust. Garages that join are agreeing to keep to certain standards and if you're not happy a free advice line is available. You can find details of local garages at www.motorindustrycode.co.uk or by phoning 0800 692 0825.
When using a new garage, it's a good idea to start off by having just a minor bit of work done initially, such as getting them to replace a headlight bulb or carry out a service. That way you can get a general feel for the place and suss out how friendly and reliable they are and whether they seem to be dealing fairly with you.
The garage environment can feel a bit unnerving to the uninitiated and trying to describe the precise nature of the odd clunky noise your car has been making to a bloke in a grimy overall over the background noise of someone welding and a radio playing Chris Moyles at full blast is, for most of us, a fast-track to feeling like a useless girlie. But it's important to behave confidently and not bang on about how little you know. Ask questions about what they're going to do, how much it's likely to cost and whether the charge includes VAT. When discussing prices, it's important to be aware of whether you're being given an estimate or a quote. Quotes should be supplied in writing and cover exactly what the garage plans to do, whilst estimates just give a rough cost. If possible, run this past car-savvy family, friends and colleagues to see if they nod approvingly or splutter out their coffee and squawk about how they're trying to rob you. Hopefully it'll be the former and you'll have just started a good relationship with the garage of your dreams.
Gotta New Motor?
The best time to start thinking about your next car is long before you need to buy it. If your old one has given up the ghost and you're lost without a car for work or the school run, you're not in a strong position when it comes to haggling at the showroom or shopping around for the perfect second-hand deal. Doing your research well in advance gives you time to consider your priorities, such as increased fuel economy or getting a larger car for a growing family. It's also a time when you can check out different makes of car. Many people often have loyalties towards a certain brand – it's a bit like families where they always have the same breed of dog – their much-loved Labrador or Westie passes on and after a respectful interval is replaced by another. Sometimes this is a good thing – after all, if you've always been happy with your Nissan Micra why bother to change? But when the time to get a new car comes round it is at least worth considering the options. Car manufacturers are changing all the time – Skodas used to be a bit of a joke, for example, but now they're very well-regarded. So flick through a few car magazines and maybe even test-drive a few cars you might not normally have considered. It's a bit like dating men who aren't your usual type or trying on clothes in a colour you wouldn't normally wear – sometimes you can be very pleasantly surprised!
Whether you're buying new or second-hand, one of the most important factors in getting a good deal is to do your research beforehand. This is where the internet is particularly useful – sites such as www.whatcar.com will not only give you the list price of different new and used models, but also the 'target price' – which deducts the discount you can reasonably expect to get. That means that you're not 'haggling in the dark' with a car salesman, but negotiating from a position of greater power. You can also look up the resale value of your current car, both as a trade-in or if you decide to sell it privately.
Buying from a Dealership
When you're buying a car from a dealership, it's important to bear in mind that they don't just make their money on selling cars but also on flogging finance deals, extended warranties, and making money on cars that have been traded in.
So a typical dealer strategy is to attempt to dazzle you with his generosity in one area, such as offering a decent discount on the car you're buying, while quietly stitching you up on the finance or your trade-in. However, if you've done your research beforehand and know the exact sums it'll be impossible for them to pull the wool over your eyes.
Since the credit crunch kicked in , car sales have plummeted so when it comes to haggling, remember that you're in a strong position. You can make it even stronger by going in at end of the month, or better still, the end of the quarter. Car dealers have targets to meet and if they haven't yet done so they'll be particularly keen to clinch sales at these times. And if you've got a car that's over ten years old then you might want to take advantage of the scrappage scheme. This is an arrangement whereby you get a £2000 incentive for scrapping your old car and buying a shiny new one. £1000 of this comes from the car industry and half from the government. But even if you go down this route it's still important to do your research and make sure you're getting the best possible deal and look at ways you can drive down the overall price of your car even further.
Buying Through a Private Sale
You can get a real bargain this way, but there are also far more pitfalls for the unwary. You've got very little legal comeback if the car turns out to be a complete crock, and you also need to be more vigilant about not getting landed with a stolen car. Always go to visit a private seller at their home, rather than letting them bring the car to you or meeting somewhere such as a motorway service station. And don't ever complete a sale without having all the relevant documentation such as the vehicle registration form. No matter how independent you are, it's best to bring someone else along when buying through a private sale as going for test drives or exchanging large sums of money with a complete stranger isn't a good idea.
Driving Disasters
The most important thing to remember about breakdowns is that prevention is better than cure – the more conscientious you are about checking your tyres, the less likely you are to get a puncture and avoiding overloading the battery means you're less likely to get a flat one. Join a breakdown organisation and always have a fully charged mobile phone in your car so you can summon help if needed. If you're the sort of girl who likes doing her own repairs then you'll probably feel confident changing a tyre at the side of the road. But if you're not there's no need to feel as if you're letting the suffragettes down by not having a go. For small punctures, a can of Holt's Tyreweld can save the day. It's an aerosol you squire through the tyre valve to seal the hole and inflate the tyre. It's only a temporary measure but the top speed you can go is about 50mph. But at least it can help you home or to the nearest garage.
Sunday Express - Mirror, Signal, Meltdown
What sort of a driver are you? You might reckon you're fairly confident, capably handling your regular commute, the hectic school run and the weekly supermarket shop with aplomb. But how do you feel about the prospect of driving home from an unfamiliar location after dark? Or taking the wheel for a long haul trip to the other end of the country to visit family? And if your boss offered you a fantastic promotion – but one that involved frequent motorway driving would you jump for joy – or recoil in horror?
If it's the latter, then you're not alone – even though you might feel it. A survey of 4,000 women drivers carried out by Diamond Car Insurance in 2009 revealed that 44% feel nervous on unfamiliar roads, 20% on motorways and 7% admit to feeling nervous every time they get behind the wheel!
Unlike road rage, which gets lots of media attention, road fear, apart from occasional disparaging remarks about 'Sunday drivers' is largely unacknowledged. Admit to being petrified of spiders, lifts or clowns and you'll soon find people who share or at least empathise with your turmoil. But own up to gripping the wheel in terror when bombing down a motorway slip road or slowing to a crawl when dazzled by oncoming headlights and the response is more likely to be sneering incomprehension. But the fact is that there are a lot of women who, despite having full, clean driving licences and years of experience are very wary of certain aspects of driving and limit themselves accordingly.
Olivia, 30, passed her driving test in London at 18 and is confident in busy city traffic. But after moving to the countryside to start a family, she found rural driving more challenging. 'I'd never driven above 50mph,' she admits. 'I've improved but still have problems. I'm not comfortable driving at night, I don't do motorways and if I take the train to London the shortest route to the station involves a horrible junction where you have to cross the dual carriageway so I end up driving about eight miles out of my way to avoid it.'
Caroline, 48, is another woman who 'doesn't do motorways'. 'I grew up in Cornwall and am fine with country driving. When I first moved to London I couldn't afford a car, but now, although I'd like to have one I do feel scared at the prospect of driving here. London drivers are so rude and impatient – they'll toot their horn at you if you don't pull away after a nanosecond and I think I'd find it too stressful. Caroline recently inherited a house in Cornwall and is planning to buy a car to keep down there, 'But no way would I bring it back to London along the motorway. I'm planning to commute by train instead.'
Other examples include Nicky, 52, who hates overtaking, 'I would rather pull off the road and wait five minutes than overtake a long lorry.' whilst Tamara, 33 let her driving fears dictate her holiday destination, 'I live in London and chose to rent a cottage in Suffolk simply because it was possible to get there on the A12, without using the motorway'.
Driving Instructor Colin Baker specialises in teaching anxious drivers and isn't surprised by any of these stories. 'Driving phobia is far more widespread than is commonly acknowledged. And people often alter their lives to accommodate it rather than tackle it head-on. The most common fears are motorways and night driving but I've also worked with drivers who've been afraid of tunnels, bridges or going down hills.'
Being nervous can create a vicious circle. The driver becomes flustered, which means they're more likely to make mistakes. That knocks their confidence further and they become even more keen to avoid getting behind the wheel. Catherine O'Neill, a therapist at the charity Anxiety UK www.anxietyuk.org.uk has experienced driving phobia herself in the past, and knows how limiting it can be. But she feels it's important to tackle your fears. 'Here at Anxiety UK we say that anxiety is a bully. The more you give into it, the more it takes from you. We advise an approach of 'graded exposure' – the client tries something just outside their comfort zone, and then once they're ok with that they go up to the next level. So if, for example, you're afraid of motorway driving you might try travelling along one motorway junction section, then two and so on. If you feel that you'd need support before doing that then book some sessions with a driving instructor experienced in working with anxious drivers.'
Catherine agrees that facing your fears can be hard. 'But it gets easier the more you do it. And every time you push yourself out of your comfort zone, give yourself a reward. It re-inforces the fact that you've done something special, even though it might not be something that seems special to other people.'
Keeping your motivation strong is also important in making any sort of change. So focus on something you'd really like to do that requires more driving confidence – whether that's being able to visit family members more easily or pursue a particular hobby – and remind yourself that it's worth putting in the effort for.
Relaxation techniques and affirmations can help tackle driving fears. Driving consultant Kathy Higgins www.insight2drive.co.uk suggests focusing on relaxing your arms and shoulders. 'If you do that, it'll extend to the rest of your body,' she explains. 'And because you're relaxing the body, that passes on to the brain. Deep breathing is also important – when you're stressed concentrate on making the out-breath last longer than the in-breath.'
Other techniques that people have found useful include singing and playing soothing classical music in the car.
Kathy also suggests using affirmations to reinforce positive thoughts and actions. Find a statement that helps reassure you such as – 'driving is safe', 'other people drive on motorways and I can too', 'my driving is fine' and 'my anxiety isn't going to hurt me' and repeat it to yourself as you drive along. Soon you'll come to believe it!
Another important step is to make sure that your car is well-maintained and that you're prepared for your journey – if you're confident in your vehicle, that'll have a knock on effect to your driving confidence. So make sure that your tyres are at the correct pressure and the right tread, and check your oil, coolant and fuel levels regularly. Keeping your windscreen and headlights clean is always important, but especially so if you're planning any night driving – smeary glass makes the dazzle from oncoming lights so much worse.
If you're going on an unfamiliar journey then keep your stress levels down by planning it carefully beforehand so you won't be worried about what route to take – and you might want to consider investing in a sat-nav too.
Motorway driving
The M word can strike fear into the heart of drivers who aren't used to them. Which isn't surprising, given that the particular skills for joining and overtaking on motorways aren't taught as part of the driving test. And as women can often get into the habit of letting their partner do all the motorway driving, the lack of practice makes matters worse.
'Before going on the motorway, you've got to be comfortable with speed,' says Colin Baker. 'So the first step is to practice on dual carriageways until you're used to doing at least 60mph.'
Once you've cleared that hurdle, don't freak yourself out by hitting the M25 at rush hour. 'Try out a few practice sessions at quieter times, such as Sunday morning,' advises Kathy Higgins. 'Just do a couple of junctions and come off again.'
Joining can feel like the trickiest part of motorway driving. 'As they're going down the sliproad people often slow down because they're scared and as they reduce their speed it feels as if the traffic on the motorway is going faster,' explains Kathy. 'Then the driver panics and thinks, 'they're going too fast, they won't let me on.' But relax and realise that you don't have to get on straight away. Use the sliproad and pull out when it's safe.'
'As you're going down the sliproad it's important to watch the traffic and plan where you're going to slot in,' advises Colin. 'Other motorists will often pull over or hold back to give you a space but anxious drivers worry that it's not big enough. That's where taking extra training with a professional instructor can come in useful – they can reassure you and urge you to claim the space. Once you've done it a few times you'll feel more confident and come to trust your own judgment.'
Once on the motorway, many drivers dislike overtaking but there's no need to be constantly weaving in and out of the traffic if you're not comfortable with that. 'There's nothing wrong with just doing a steady speed sitting behind a lorry,' says Kathy. 'I sometimes do it myself if I'm tired and not in the mood for frequent overtaking.'
Other essential tips for safe motorway driving include looking further ahead than you might usually do, staying aware of traffic feeding on from slip roads and taking regular breaks – twenty minutes every two hours is recommended.
Night driving
Kathy Higgins sympathises with women who hate driving at night. 'It can be quite a challenge,' she admits. 'As well as coping with poor visibility, there's the fact that other drivers are often tired or drunk so you need to be extra alert in case they behave erratically. Go slower and allow more time for your journey.'
Being dazzled by the headlights of oncoming cars is one of the trickiest most unnerving aspects of night driving. To make matters worse, many of us feel drawn towards them in a 'moth to a flame' sort of way and worry that we'll drive into the path of oncoming cars. 'Don't look at the headlights,' urges Colin Baker. 'Keep your attention on the left hand kerb. And try to keep your speed steady. Avoid driving along at 50 and then dropping to 40 when there's oncoming traffic and then speeding up again. It makes it very confusing for drivers travelling behind you. It's better to aim for a speed you can maintain, such as 45 and sticking to it even if there are times you could go faster.'
Parking
This one is more about risking embarrassment than actual danger, so it's relatively easy to tackle. Parking practice makes perfect, so make a point of trying out different parking challenges when you're not rushed for time and not hassled by a stream of traffic behind you. For example, do a bay park in a deserted bit of the supermarket car park, even if you could just drive directly in. Or experiment with a hill park when no-one else is around. You'll soon be the proud possessor of impressive parking skills.
BOX OUT – EXTRA HELP
Institute of Advanced Motorists
www.iam.org.uk
0845 1268600
If you're struggling with everyday driving, it might seem a bit presumptuous to tackle the Advanced Driving Test. But it's a really good way to gain confidence and become a better driver. The training is carried out by volunteers and the course (which includes at least six sessions, more at no extra charge if required), membership and test cost £139 inclusive
Anxiety UK
www.anxietyuk.org.uk
0161 227 9898
Anxiety UK can offer telephone counselling for a fee (between £7-25 hr dependent on income) and help you find a driving instructor who specialises in helping phobic drivers.
If it's the latter, then you're not alone – even though you might feel it. A survey of 4,000 women drivers carried out by Diamond Car Insurance in 2009 revealed that 44% feel nervous on unfamiliar roads, 20% on motorways and 7% admit to feeling nervous every time they get behind the wheel!
Unlike road rage, which gets lots of media attention, road fear, apart from occasional disparaging remarks about 'Sunday drivers' is largely unacknowledged. Admit to being petrified of spiders, lifts or clowns and you'll soon find people who share or at least empathise with your turmoil. But own up to gripping the wheel in terror when bombing down a motorway slip road or slowing to a crawl when dazzled by oncoming headlights and the response is more likely to be sneering incomprehension. But the fact is that there are a lot of women who, despite having full, clean driving licences and years of experience are very wary of certain aspects of driving and limit themselves accordingly.
Olivia, 30, passed her driving test in London at 18 and is confident in busy city traffic. But after moving to the countryside to start a family, she found rural driving more challenging. 'I'd never driven above 50mph,' she admits. 'I've improved but still have problems. I'm not comfortable driving at night, I don't do motorways and if I take the train to London the shortest route to the station involves a horrible junction where you have to cross the dual carriageway so I end up driving about eight miles out of my way to avoid it.'
Caroline, 48, is another woman who 'doesn't do motorways'. 'I grew up in Cornwall and am fine with country driving. When I first moved to London I couldn't afford a car, but now, although I'd like to have one I do feel scared at the prospect of driving here. London drivers are so rude and impatient – they'll toot their horn at you if you don't pull away after a nanosecond and I think I'd find it too stressful. Caroline recently inherited a house in Cornwall and is planning to buy a car to keep down there, 'But no way would I bring it back to London along the motorway. I'm planning to commute by train instead.'
Other examples include Nicky, 52, who hates overtaking, 'I would rather pull off the road and wait five minutes than overtake a long lorry.' whilst Tamara, 33 let her driving fears dictate her holiday destination, 'I live in London and chose to rent a cottage in Suffolk simply because it was possible to get there on the A12, without using the motorway'.
Driving Instructor Colin Baker specialises in teaching anxious drivers and isn't surprised by any of these stories. 'Driving phobia is far more widespread than is commonly acknowledged. And people often alter their lives to accommodate it rather than tackle it head-on. The most common fears are motorways and night driving but I've also worked with drivers who've been afraid of tunnels, bridges or going down hills.'
Being nervous can create a vicious circle. The driver becomes flustered, which means they're more likely to make mistakes. That knocks their confidence further and they become even more keen to avoid getting behind the wheel. Catherine O'Neill, a therapist at the charity Anxiety UK www.anxietyuk.org.uk has experienced driving phobia herself in the past, and knows how limiting it can be. But she feels it's important to tackle your fears. 'Here at Anxiety UK we say that anxiety is a bully. The more you give into it, the more it takes from you. We advise an approach of 'graded exposure' – the client tries something just outside their comfort zone, and then once they're ok with that they go up to the next level. So if, for example, you're afraid of motorway driving you might try travelling along one motorway junction section, then two and so on. If you feel that you'd need support before doing that then book some sessions with a driving instructor experienced in working with anxious drivers.'
Catherine agrees that facing your fears can be hard. 'But it gets easier the more you do it. And every time you push yourself out of your comfort zone, give yourself a reward. It re-inforces the fact that you've done something special, even though it might not be something that seems special to other people.'
Keeping your motivation strong is also important in making any sort of change. So focus on something you'd really like to do that requires more driving confidence – whether that's being able to visit family members more easily or pursue a particular hobby – and remind yourself that it's worth putting in the effort for.
Relaxation techniques and affirmations can help tackle driving fears. Driving consultant Kathy Higgins www.insight2drive.co.uk suggests focusing on relaxing your arms and shoulders. 'If you do that, it'll extend to the rest of your body,' she explains. 'And because you're relaxing the body, that passes on to the brain. Deep breathing is also important – when you're stressed concentrate on making the out-breath last longer than the in-breath.'
Other techniques that people have found useful include singing and playing soothing classical music in the car.
Kathy also suggests using affirmations to reinforce positive thoughts and actions. Find a statement that helps reassure you such as – 'driving is safe', 'other people drive on motorways and I can too', 'my driving is fine' and 'my anxiety isn't going to hurt me' and repeat it to yourself as you drive along. Soon you'll come to believe it!
Another important step is to make sure that your car is well-maintained and that you're prepared for your journey – if you're confident in your vehicle, that'll have a knock on effect to your driving confidence. So make sure that your tyres are at the correct pressure and the right tread, and check your oil, coolant and fuel levels regularly. Keeping your windscreen and headlights clean is always important, but especially so if you're planning any night driving – smeary glass makes the dazzle from oncoming lights so much worse.
If you're going on an unfamiliar journey then keep your stress levels down by planning it carefully beforehand so you won't be worried about what route to take – and you might want to consider investing in a sat-nav too.
Motorway driving
The M word can strike fear into the heart of drivers who aren't used to them. Which isn't surprising, given that the particular skills for joining and overtaking on motorways aren't taught as part of the driving test. And as women can often get into the habit of letting their partner do all the motorway driving, the lack of practice makes matters worse.
'Before going on the motorway, you've got to be comfortable with speed,' says Colin Baker. 'So the first step is to practice on dual carriageways until you're used to doing at least 60mph.'
Once you've cleared that hurdle, don't freak yourself out by hitting the M25 at rush hour. 'Try out a few practice sessions at quieter times, such as Sunday morning,' advises Kathy Higgins. 'Just do a couple of junctions and come off again.'
Joining can feel like the trickiest part of motorway driving. 'As they're going down the sliproad people often slow down because they're scared and as they reduce their speed it feels as if the traffic on the motorway is going faster,' explains Kathy. 'Then the driver panics and thinks, 'they're going too fast, they won't let me on.' But relax and realise that you don't have to get on straight away. Use the sliproad and pull out when it's safe.'
'As you're going down the sliproad it's important to watch the traffic and plan where you're going to slot in,' advises Colin. 'Other motorists will often pull over or hold back to give you a space but anxious drivers worry that it's not big enough. That's where taking extra training with a professional instructor can come in useful – they can reassure you and urge you to claim the space. Once you've done it a few times you'll feel more confident and come to trust your own judgment.'
Once on the motorway, many drivers dislike overtaking but there's no need to be constantly weaving in and out of the traffic if you're not comfortable with that. 'There's nothing wrong with just doing a steady speed sitting behind a lorry,' says Kathy. 'I sometimes do it myself if I'm tired and not in the mood for frequent overtaking.'
Other essential tips for safe motorway driving include looking further ahead than you might usually do, staying aware of traffic feeding on from slip roads and taking regular breaks – twenty minutes every two hours is recommended.
Night driving
Kathy Higgins sympathises with women who hate driving at night. 'It can be quite a challenge,' she admits. 'As well as coping with poor visibility, there's the fact that other drivers are often tired or drunk so you need to be extra alert in case they behave erratically. Go slower and allow more time for your journey.'
Being dazzled by the headlights of oncoming cars is one of the trickiest most unnerving aspects of night driving. To make matters worse, many of us feel drawn towards them in a 'moth to a flame' sort of way and worry that we'll drive into the path of oncoming cars. 'Don't look at the headlights,' urges Colin Baker. 'Keep your attention on the left hand kerb. And try to keep your speed steady. Avoid driving along at 50 and then dropping to 40 when there's oncoming traffic and then speeding up again. It makes it very confusing for drivers travelling behind you. It's better to aim for a speed you can maintain, such as 45 and sticking to it even if there are times you could go faster.'
Parking
This one is more about risking embarrassment than actual danger, so it's relatively easy to tackle. Parking practice makes perfect, so make a point of trying out different parking challenges when you're not rushed for time and not hassled by a stream of traffic behind you. For example, do a bay park in a deserted bit of the supermarket car park, even if you could just drive directly in. Or experiment with a hill park when no-one else is around. You'll soon be the proud possessor of impressive parking skills.
BOX OUT – EXTRA HELP
Institute of Advanced Motorists
www.iam.org.uk
0845 1268600
If you're struggling with everyday driving, it might seem a bit presumptuous to tackle the Advanced Driving Test. But it's a really good way to gain confidence and become a better driver. The training is carried out by volunteers and the course (which includes at least six sessions, more at no extra charge if required), membership and test cost £139 inclusive
Anxiety UK
www.anxietyuk.org.uk
0161 227 9898
Anxiety UK can offer telephone counselling for a fee (between £7-25 hr dependent on income) and help you find a driving instructor who specialises in helping phobic drivers.
Wednesday, 24 August 2011
Woman magazine - Writing a Mills and Boon
In my twenties I loved reading romantic novels - especially Mills and Boons. I even dreamt of writing one of my own. But nowadays once I've got work and chores out of the way romance is often the last thing on my mind.
Then I heard that Mills and Boon were running a series of writing workshops across the country during August and September, followed by a 'New Voices' competition to help find fresh talent and I jumped at the chance of sampling one. Run by Heidi Rice, the author of 11 Mills and Boon novels, including 'Bedded by a Bad Boy' and 'Surf, Sea and a Sexy Stranger' I felt sure it would get my creative juices flowing.
There were eight aspiring authors in the group, and Heidi began by explaining that Mills and Boon novels are divided into different categories and it's important to aim for the one you'd be most suited for. They include Modern, which have glamorous, jet-set locations powerful, ruthless heroes and red-hot lovemaking and Cherish, which are sensual but stop at the bedroom door.
Heidi shows us a montage of pictures of heros to inspire us – they include Sean Bean, Daniel Craig, Gordon Ramsay, Robert Pattinson and, rather unexpectedly, Simon Cowell. 'The actor who played Sawyer in Lost was the basis for one of my heroes,' confides Heidi.
Heidi then sets us an exercise to create a hero and heroine of our own. She stresses it's important make them real, complex characters, with inner conflicts that they have to overcome on their path to finding true love. 'And remember that names are important,' she adds, 'I'd suggest you avoid calling your hero Nigel or Reg'.
Deciding to take the plunge and go for the Modern category, I start writing about Jasmine, a feisty redhead, damaged by her parents' divorce and determined she'll never have her own heart broken. But when she meets Ricardo, a gorgeous Italian tycoon, sparks are destined to fly.
Heidi asks if any members of the group would be willing to share their creations, and we hear about Jason, who is 'tall, dark, brooding, with deep blue eyes and a moody mouth' and beautiful interior designer Anneka. Asked for advice on writing about passion, Heidi shares the following tip. 'Identify with your heroine and fall in love with your hero. That way any sex scenes will flow naturally.'
Once you've penned your novel, getting feedback can help you improve your work. The best people to show it to are regular romance readers. 'But probably not your mother,' Heidi adds. 'I showed my first book to my own mum and she said 'I thought it was very good, but you used the word 'erection' too often'.
On the return train journey I make notes about my story. I decide to give it a horsey background and call it 'Unbridled Passions'. By the time I get home I'm raring to go. Ignoring the towering pile of ironing I turn on my laptop and disappear into a romantic world where Ricardo and Jasmine can get to know each other better....
WRITE A BESTSELLER/
Read Mills and Boon romances to become familiar with their style
Pinning up photos of your hero can help inspire you.
Don't feel you've got to write sexy scenes – if you're not comfortable with them it'll show
Make time to write – get up an hour early if you have to
Details of the Mills and Boon workshops and competition at www.romanceisnotdead.com
There are guidelines for aspiring authors at www.millsandboon.co.uk
Then I heard that Mills and Boon were running a series of writing workshops across the country during August and September, followed by a 'New Voices' competition to help find fresh talent and I jumped at the chance of sampling one. Run by Heidi Rice, the author of 11 Mills and Boon novels, including 'Bedded by a Bad Boy' and 'Surf, Sea and a Sexy Stranger' I felt sure it would get my creative juices flowing.
There were eight aspiring authors in the group, and Heidi began by explaining that Mills and Boon novels are divided into different categories and it's important to aim for the one you'd be most suited for. They include Modern, which have glamorous, jet-set locations powerful, ruthless heroes and red-hot lovemaking and Cherish, which are sensual but stop at the bedroom door.
Heidi shows us a montage of pictures of heros to inspire us – they include Sean Bean, Daniel Craig, Gordon Ramsay, Robert Pattinson and, rather unexpectedly, Simon Cowell. 'The actor who played Sawyer in Lost was the basis for one of my heroes,' confides Heidi.
Heidi then sets us an exercise to create a hero and heroine of our own. She stresses it's important make them real, complex characters, with inner conflicts that they have to overcome on their path to finding true love. 'And remember that names are important,' she adds, 'I'd suggest you avoid calling your hero Nigel or Reg'.
Deciding to take the plunge and go for the Modern category, I start writing about Jasmine, a feisty redhead, damaged by her parents' divorce and determined she'll never have her own heart broken. But when she meets Ricardo, a gorgeous Italian tycoon, sparks are destined to fly.
Heidi asks if any members of the group would be willing to share their creations, and we hear about Jason, who is 'tall, dark, brooding, with deep blue eyes and a moody mouth' and beautiful interior designer Anneka. Asked for advice on writing about passion, Heidi shares the following tip. 'Identify with your heroine and fall in love with your hero. That way any sex scenes will flow naturally.'
Once you've penned your novel, getting feedback can help you improve your work. The best people to show it to are regular romance readers. 'But probably not your mother,' Heidi adds. 'I showed my first book to my own mum and she said 'I thought it was very good, but you used the word 'erection' too often'.
On the return train journey I make notes about my story. I decide to give it a horsey background and call it 'Unbridled Passions'. By the time I get home I'm raring to go. Ignoring the towering pile of ironing I turn on my laptop and disappear into a romantic world where Ricardo and Jasmine can get to know each other better....
WRITE A BESTSELLER/
Read Mills and Boon romances to become familiar with their style
Pinning up photos of your hero can help inspire you.
Don't feel you've got to write sexy scenes – if you're not comfortable with them it'll show
Make time to write – get up an hour early if you have to
Details of the Mills and Boon workshops and competition at www.romanceisnotdead.com
There are guidelines for aspiring authors at www.millsandboon.co.uk
Saturday, 30 July 2011
Sunday Express, Panto feature
DICK WHITTINGTON, FLECKNEY, LEICESTERSHIRE
Fleckney is a small village in Leicestershire with two pubs and two shops. It will shortly have a Lord Mayor however, as the basic Dick Whittington pantomime story has been adapted by local amateur theatre group the Duckpond Players to one where Dick has to go travelling the world for a year and a day before returning to Fleckney to reclaim his inheritance and become Lord Mayor.
‘There’s something really special about having a panto in a small community like this,’ says Sarah Atherton, 33 who plays Barry Botchit, one half of a comedy duo that are trying to capture Dick. Sarah is a full-time mum of three and so committed to the panto that she’s back at rehearsals 4 weeks after the birth of her last baby. ‘It brings together people in the village who might not otherwise get to know each other. The age range of our performers is from 73 to 8 and they come from all walks of life. People also like it that there are local in-jokes that they can get – for example, about the head teacher at the primary school or our parish council.’
The panto has a loyal following within the village, and sells out most of its shows. ‘Last year we won the Best Panto award in the Pantomime Alliance of Leicestershire competition,’ says Peter Henton, 57 a domestic appliances repairman who plays Bob Botchit. ‘This might be a small village but that’s no excuse for putting on something ramshackle. We set high standards when it comes to sound and lighting and want the panto to be as entertaining as we can make it.’
I talk with Peter about the uniquely British appeal of panto. ‘It’s strange when you think about it,’ he admits. ‘You’ve got men dressed as women, girls dressed as boys, corney jokes and catchphrases, and lots of audience interaction. I brought some overseas friends along and although they enjoyed it they didn’t really understand it at all. But it’s become a much-loved part of our Christmas tradition. Parents who loved going to the panto as a child now want to give their own children that experience. It’s great family entertainment.’
Police officer Steve Morely, 39 has lived in the village all his life and has personal experience of dressing as a woman. ‘I was the Dame in last year’s panto. It was weird during rehearsals, but by performance time I’d got really into it. Afterwards everyone in the village recognises you. I’ll call into the post office and someone will say, ‘You looked lovely in that dress.’ Being the Dame is a great role because you can be so over the top, bantering with hecklers and dragging members of the audience on stage for a community song. I think the audience enjoy interacting with someone they know when they’re in character as well – they’re seeing a different side to people they’re familiar with in everyday life.’
Lots of people in the drama group joined after seeing the panto. ‘Nicola Scholey, 15 who plays Samantha, Dick’s romantic interest says, ‘People in the audience feel more connected than they would to a big expensive production in a city theatre and realise they could take part themselves. Even if they’re shy, there’s still the option of doing backstage stuff like wardrobe and lighting. My whole family is involved with this panto - my dad is playing lots of small roles, my younger twin sisters are in the dance troupe and mum helps out with costumes.’
Nicola gets on stage to rehearse a scene with Fleckney-born Gordon Dainty, 73, who’s playing King of the Leprachauns and some other cast members. They all launch into a tuneful rendition of ‘We’re in the Money’ as I have a final chat with Peter. ‘Apparently Leicestershire has more amateur dramatic societies than anywhere else in the country,’ he tells me. ‘I suppose it’s partly because we’re so far away from the big cities like London and Birmingham which have major theatrical productions – it keeps us in touch with the village tradition of people making their own entertainment.’
CINDERELLA, CITADEL THEATRE, ST HELENS, MERSEYSIDE
The Citadel Theatre is tucked away in the backstreets of St Helens, Merseyside. When I visit an early rehearsal of their pantomime, Cinderella, read-throughs are in full swing.
Carmel Baines, the director obviously runs a tight ship. Everyone, children and teenagers included are sitting quietly while Buttons and Baron Hardup go through a scene full of outrageous puns and misunderstandings.
I spirit a group of the youngsters off a neighbouring room and chat to them about being involved in the panto. I’m really impressed by how enthusiastic and articulate they are.
‘It’s great,’ says Patrick Roberts, 13 who plays a milkmaid. ‘People often mess about in drama at school but here everyone really wants to do it. It’s good working alongside adults as well – it’s not like there’s the teachers and the pupils, we’re all working together. Wearing a dress and playing a girl can be embarrassing but I don’t mind because it makes the scenes funnier.’
Cinderella is played by 15 year old Hellie Cranney, who’s been taking part in the panto since she was 7. ‘I couldn’t bear not to be involved – it’s not just the performance that appeals to me, I love the rehearsal process too. You get to know people really well and I’m sure I’ve made some friends for life here. Some of the younger ones can be a bit boisterous to start off with but once the show has been cast and they’ve got parts they’re a lot more focused. Everyone wants to do a good job and shine on stage.’
I talk to Carmel during the break and she agrees. ‘Drama is great as a way of building communication skills and a sense of teamwork. I’ve heard from schools that children who’ve joined the panto have gone on to overcome behavioural problems and their general performance has improved. It gives them a sense of achievement and a group to belong to which doesn’t involve hanging round street corners making trouble.’
There are about 60 people involved in the pantomime including cast members and backstage and wardrobe staff. ‘We start off with a basic script, but during rehearsals people work on their characters and chip in with ways things could be improved or suggest local jokes,’ explains Carmel. ‘Everyone helps out with building and painting the set as well, and we’ll beg, steal and borrow to get the right props. Then we’ve got volunteers, aunties and grandparents all working away putting costumes together. Basically we’ve got an open door policy and feel everyone has got something worthwhile to contribute.’
District nurse Robert Boyle 35, plays Baron Hardup and really appreciates the inclusive feel of the panto group. ‘I’m a recovering stammerer and being on stage is something I’ve always wanted to do but I never felt confident enough. I joined the group when I first came to St Helens and it’s given me a ready-made social life. People of all ages and backgrounds mix in together and no-one gets sidelined.’
When rehearsals are over and everyone is helping pack up I ask the younger cast members why they feel pantomime still has such an appeal. ‘I think it’s because people love being able to interact rather than just sit there,’ replies Hellie. ‘You can’t shout back at the TV screen. But here you can heckle the baddies and join in with the songs. And the little ones are in awe of the way the transformations – such as Cinders changing from being in rags to her beautiful ballgown – happen in front of them. You look down from the stage and can see how their faces have lit up. Also it’s the first time many children have been to the theatre. Last year we gave a free performance for a primary school in one of the poorer areas who couldn’t have afforded to come otherwise. It was really touching how thrilled they were – they all wrote us letters afterwards saying how much they’d loved it. And you can tell that the adults are enjoying it too. Christmas is such a busy time for many people but going to the panto gives everyone the opportunity to have a break from all the stress and escape into a fairytale world for a few hours.’
BABES IN THE WOOD, PRICEWATERHOUSECOOPERS ACCOUNTANTS, LONDON
It’s Sunday afternoon and I’m watching a chorus line of accountants in Merry Men costumes high-kicking to ‘I’m a Believer’ by The Monkees. During the week they may be sober and sharp-suited, but this is a rehearsal for PricewaterhouseCooper’s annual panto, performed by a cast drawn entirely from the workforce and including accountants, IT professionals and marketing managers. It will be performed in January 2008 at the Peacock Theatre in London and then at The Royal Northern College of Music in Manchester, giving 6,500 children from inner-city schools and charities the chance to experience what will be, for many, their first ever trip to the theatre. There are also limited tickets for the paying public.
The rehearsals here are further on than the other two productions, so I settle down to watch a complete run-through of Act 1. Babes in the Wood isn’t as well known as some of the other pantos, but as it unfolds it’s clear the plot is based on the legend of Robin Hood, with the ‘Babes’ being a young brother and sister, played very convincingly by Helen Kershaw, a 27 year old leisure executive and tax manager Paula Knight, 43, whom Robin rescues from the scheming Sheriff of Nottingham. And accountant Stephen Moyneux-Webb, 25 who plays the Sheriff could certainly give Alan Rickman a run for his money for leather-trousered dastardlyness!
During a break Stephen reveals that he hadn’t done any acting before joining the panto chorus the previous year. ‘I wanted to do something other than work, study for my accountancy exams and collapse in front of the TV in the evening. Fitting in rehearsals means I’m ridiculously busy, but it’s great to have a creative focus and feel that you’re putting something back into the community as well.’
Victoria Green, 25, who’s also juggling the notoriously demanding accountancy exams with playing the lead role of Robin Hood agrees. ‘I love my job. But I also love the fact that being involved in the panto gives me the opportunity to express the dramatic, artistic side of myself and get to bond with colleagues at the same time. As the performance date draws closer there’s a real buzz throughout the firm – everyone from colleagues in my office to the ladies in the canteen is interested in how rehearsals are going. Lots of staff come to see it and are amazed by how many creative people there are in the company.’
I also grab the opportunity to chat to Nigel Haynes, a 40 year old tax manager who is playing the Dame, Nurse Jemima Jollop. He’s wearing a purple and yellow dress with a blue wig and I’m transfixed by his insanely long silver false eyelashes. So he seems the right man to ask about how the stuffy reputation of accountants can be reconciled with the over-the-top approach required by pantomime. ‘We have to exude a professional and even staid and responsible attitude in working hours,’ admits Nigel. ‘But after being constrained between 9-5 – or more likely 8-6 these days – we’re maybe even more inclined to let our hair down with a vengeance when off-duty.’
The performance started up again, and sitting with some of the stage management crew I found myself getting drawn in. Feeling sorry for the lonely ghost in the West wing of Nottingham Castle, laughing at the interplay between the amorous Dame and the reluctant Sheriff, uplifted by the chorus song and dance routines. I even joined in calling out to the good fairy who was foiling the villans’ evil plans and of course the ‘it’s behind you’s!’.
Whether it’s Liverpool, London or Leicester, there’s clearly something about the eccentric, anarchic, funny and heartwarming quality of pantomime which is locked firmly into the British psyche and still appeals to us regardless of age or background. So to anyone who might think that the competing demands of playstations, satellite TV and multi-screen cinemas means that the tradition of British pantomime is behind us there’s only one answer – ‘Oh no it isn’t!’
Fleckney is a small village in Leicestershire with two pubs and two shops. It will shortly have a Lord Mayor however, as the basic Dick Whittington pantomime story has been adapted by local amateur theatre group the Duckpond Players to one where Dick has to go travelling the world for a year and a day before returning to Fleckney to reclaim his inheritance and become Lord Mayor.
‘There’s something really special about having a panto in a small community like this,’ says Sarah Atherton, 33 who plays Barry Botchit, one half of a comedy duo that are trying to capture Dick. Sarah is a full-time mum of three and so committed to the panto that she’s back at rehearsals 4 weeks after the birth of her last baby. ‘It brings together people in the village who might not otherwise get to know each other. The age range of our performers is from 73 to 8 and they come from all walks of life. People also like it that there are local in-jokes that they can get – for example, about the head teacher at the primary school or our parish council.’
The panto has a loyal following within the village, and sells out most of its shows. ‘Last year we won the Best Panto award in the Pantomime Alliance of Leicestershire competition,’ says Peter Henton, 57 a domestic appliances repairman who plays Bob Botchit. ‘This might be a small village but that’s no excuse for putting on something ramshackle. We set high standards when it comes to sound and lighting and want the panto to be as entertaining as we can make it.’
I talk with Peter about the uniquely British appeal of panto. ‘It’s strange when you think about it,’ he admits. ‘You’ve got men dressed as women, girls dressed as boys, corney jokes and catchphrases, and lots of audience interaction. I brought some overseas friends along and although they enjoyed it they didn’t really understand it at all. But it’s become a much-loved part of our Christmas tradition. Parents who loved going to the panto as a child now want to give their own children that experience. It’s great family entertainment.’
Police officer Steve Morely, 39 has lived in the village all his life and has personal experience of dressing as a woman. ‘I was the Dame in last year’s panto. It was weird during rehearsals, but by performance time I’d got really into it. Afterwards everyone in the village recognises you. I’ll call into the post office and someone will say, ‘You looked lovely in that dress.’ Being the Dame is a great role because you can be so over the top, bantering with hecklers and dragging members of the audience on stage for a community song. I think the audience enjoy interacting with someone they know when they’re in character as well – they’re seeing a different side to people they’re familiar with in everyday life.’
Lots of people in the drama group joined after seeing the panto. ‘Nicola Scholey, 15 who plays Samantha, Dick’s romantic interest says, ‘People in the audience feel more connected than they would to a big expensive production in a city theatre and realise they could take part themselves. Even if they’re shy, there’s still the option of doing backstage stuff like wardrobe and lighting. My whole family is involved with this panto - my dad is playing lots of small roles, my younger twin sisters are in the dance troupe and mum helps out with costumes.’
Nicola gets on stage to rehearse a scene with Fleckney-born Gordon Dainty, 73, who’s playing King of the Leprachauns and some other cast members. They all launch into a tuneful rendition of ‘We’re in the Money’ as I have a final chat with Peter. ‘Apparently Leicestershire has more amateur dramatic societies than anywhere else in the country,’ he tells me. ‘I suppose it’s partly because we’re so far away from the big cities like London and Birmingham which have major theatrical productions – it keeps us in touch with the village tradition of people making their own entertainment.’
CINDERELLA, CITADEL THEATRE, ST HELENS, MERSEYSIDE
The Citadel Theatre is tucked away in the backstreets of St Helens, Merseyside. When I visit an early rehearsal of their pantomime, Cinderella, read-throughs are in full swing.
Carmel Baines, the director obviously runs a tight ship. Everyone, children and teenagers included are sitting quietly while Buttons and Baron Hardup go through a scene full of outrageous puns and misunderstandings.
I spirit a group of the youngsters off a neighbouring room and chat to them about being involved in the panto. I’m really impressed by how enthusiastic and articulate they are.
‘It’s great,’ says Patrick Roberts, 13 who plays a milkmaid. ‘People often mess about in drama at school but here everyone really wants to do it. It’s good working alongside adults as well – it’s not like there’s the teachers and the pupils, we’re all working together. Wearing a dress and playing a girl can be embarrassing but I don’t mind because it makes the scenes funnier.’
Cinderella is played by 15 year old Hellie Cranney, who’s been taking part in the panto since she was 7. ‘I couldn’t bear not to be involved – it’s not just the performance that appeals to me, I love the rehearsal process too. You get to know people really well and I’m sure I’ve made some friends for life here. Some of the younger ones can be a bit boisterous to start off with but once the show has been cast and they’ve got parts they’re a lot more focused. Everyone wants to do a good job and shine on stage.’
I talk to Carmel during the break and she agrees. ‘Drama is great as a way of building communication skills and a sense of teamwork. I’ve heard from schools that children who’ve joined the panto have gone on to overcome behavioural problems and their general performance has improved. It gives them a sense of achievement and a group to belong to which doesn’t involve hanging round street corners making trouble.’
There are about 60 people involved in the pantomime including cast members and backstage and wardrobe staff. ‘We start off with a basic script, but during rehearsals people work on their characters and chip in with ways things could be improved or suggest local jokes,’ explains Carmel. ‘Everyone helps out with building and painting the set as well, and we’ll beg, steal and borrow to get the right props. Then we’ve got volunteers, aunties and grandparents all working away putting costumes together. Basically we’ve got an open door policy and feel everyone has got something worthwhile to contribute.’
District nurse Robert Boyle 35, plays Baron Hardup and really appreciates the inclusive feel of the panto group. ‘I’m a recovering stammerer and being on stage is something I’ve always wanted to do but I never felt confident enough. I joined the group when I first came to St Helens and it’s given me a ready-made social life. People of all ages and backgrounds mix in together and no-one gets sidelined.’
When rehearsals are over and everyone is helping pack up I ask the younger cast members why they feel pantomime still has such an appeal. ‘I think it’s because people love being able to interact rather than just sit there,’ replies Hellie. ‘You can’t shout back at the TV screen. But here you can heckle the baddies and join in with the songs. And the little ones are in awe of the way the transformations – such as Cinders changing from being in rags to her beautiful ballgown – happen in front of them. You look down from the stage and can see how their faces have lit up. Also it’s the first time many children have been to the theatre. Last year we gave a free performance for a primary school in one of the poorer areas who couldn’t have afforded to come otherwise. It was really touching how thrilled they were – they all wrote us letters afterwards saying how much they’d loved it. And you can tell that the adults are enjoying it too. Christmas is such a busy time for many people but going to the panto gives everyone the opportunity to have a break from all the stress and escape into a fairytale world for a few hours.’
BABES IN THE WOOD, PRICEWATERHOUSECOOPERS ACCOUNTANTS, LONDON
It’s Sunday afternoon and I’m watching a chorus line of accountants in Merry Men costumes high-kicking to ‘I’m a Believer’ by The Monkees. During the week they may be sober and sharp-suited, but this is a rehearsal for PricewaterhouseCooper’s annual panto, performed by a cast drawn entirely from the workforce and including accountants, IT professionals and marketing managers. It will be performed in January 2008 at the Peacock Theatre in London and then at The Royal Northern College of Music in Manchester, giving 6,500 children from inner-city schools and charities the chance to experience what will be, for many, their first ever trip to the theatre. There are also limited tickets for the paying public.
The rehearsals here are further on than the other two productions, so I settle down to watch a complete run-through of Act 1. Babes in the Wood isn’t as well known as some of the other pantos, but as it unfolds it’s clear the plot is based on the legend of Robin Hood, with the ‘Babes’ being a young brother and sister, played very convincingly by Helen Kershaw, a 27 year old leisure executive and tax manager Paula Knight, 43, whom Robin rescues from the scheming Sheriff of Nottingham. And accountant Stephen Moyneux-Webb, 25 who plays the Sheriff could certainly give Alan Rickman a run for his money for leather-trousered dastardlyness!
During a break Stephen reveals that he hadn’t done any acting before joining the panto chorus the previous year. ‘I wanted to do something other than work, study for my accountancy exams and collapse in front of the TV in the evening. Fitting in rehearsals means I’m ridiculously busy, but it’s great to have a creative focus and feel that you’re putting something back into the community as well.’
Victoria Green, 25, who’s also juggling the notoriously demanding accountancy exams with playing the lead role of Robin Hood agrees. ‘I love my job. But I also love the fact that being involved in the panto gives me the opportunity to express the dramatic, artistic side of myself and get to bond with colleagues at the same time. As the performance date draws closer there’s a real buzz throughout the firm – everyone from colleagues in my office to the ladies in the canteen is interested in how rehearsals are going. Lots of staff come to see it and are amazed by how many creative people there are in the company.’
I also grab the opportunity to chat to Nigel Haynes, a 40 year old tax manager who is playing the Dame, Nurse Jemima Jollop. He’s wearing a purple and yellow dress with a blue wig and I’m transfixed by his insanely long silver false eyelashes. So he seems the right man to ask about how the stuffy reputation of accountants can be reconciled with the over-the-top approach required by pantomime. ‘We have to exude a professional and even staid and responsible attitude in working hours,’ admits Nigel. ‘But after being constrained between 9-5 – or more likely 8-6 these days – we’re maybe even more inclined to let our hair down with a vengeance when off-duty.’
The performance started up again, and sitting with some of the stage management crew I found myself getting drawn in. Feeling sorry for the lonely ghost in the West wing of Nottingham Castle, laughing at the interplay between the amorous Dame and the reluctant Sheriff, uplifted by the chorus song and dance routines. I even joined in calling out to the good fairy who was foiling the villans’ evil plans and of course the ‘it’s behind you’s!’.
Whether it’s Liverpool, London or Leicester, there’s clearly something about the eccentric, anarchic, funny and heartwarming quality of pantomime which is locked firmly into the British psyche and still appeals to us regardless of age or background. So to anyone who might think that the competing demands of playstations, satellite TV and multi-screen cinemas means that the tradition of British pantomime is behind us there’s only one answer – ‘Oh no it isn’t!’
Sunday Express, Avon Ladies
Katy Impey, 35 is married to Mark, 33, an company director. They have a daughter, Holly, 4 and live near Barnstaple in North Devon.
I've always been quite a girlie girl, and I really love make-up. I don't go out of the house without it on, and even when I was in hospital having my daughter I was re-applying lipstick between contractions because I wanted to look nice in the photos we were planning to take afterwards!
So given that I'm such a cosmetics fan and enjoy meeting people, becoming an Avon Lady seemed the ideal solution when I was looking to make some extra money in a way that would fit around family life. Before my daughter arrived I'd been a part-qualified accountant and run a cleaning business, but that didn't allow the flexibility I was looking for. I already knew what it would involve as my mum had been an Avon Lady and I had fond childhood memories of getting really excited when the sample boxes of make-up arrived and we'd try them out together.
I got started with Avon in 2007, when my daughter was 2. We'd just moved from Wiltshire to North Devon, so I thought it would also be a good way of getting to meet new people. I was given an area to cover and set off knocking on doors, handing out the brochure and letting people know I was their new Avon Lady. When you do that, you'll find that most people are interested whilst others aren't, but we log the latter and don't call there again. Lots of people are really keen though, so you feel welcomed far more times than not and it doesn't feel like a hard-sell job at all. In the time I've done it, I've found my Avon round has come to take me longer and longer because I've made friends among my customers and we don't just talk about Avon, we catch up on each others news as well. It's given me a real sense of being part of our local community. Some of the older customers joke and say 'Ding Dong, Avon Calling' when I arrive – I don't mind at all. It means the original advert has stood the test of time, which is pretty amazing really!
Of course, door-to-door selling isn't everyone's cup of tea, but there are lots of other approaches, such as being an Avon Lady through your workplace, through other mums at playgroups or simply having a local territory and putting brochures through letterboxes. I'm a sales leader and as well as having my own Avon territory, I recruit and train other representatives. And I always say that to be an Avon Lady you don't need to be a saleswoman because the products sell themselves. They're good quality, good value and come with a 90 day no quibble guarantee. All an Avon Lady needs to do is to love make-up, be approachable and have a smiley face!
In terms of making money, you get as much out of Avon as you put in. The basic guidelines are that representatives earn £1 for every £4 worth of goods they sell. My own earnings fluctuate as sometimes I'm able to put more hours in, but other times I want to spend more time with my family. The fact that it's flexible enough for me to do that is one of the real pluses of the job – being an Avon Lady fits perfectly around being a mum.
It's interesting to see how the image of Avon has become much more fashionable in recent years. The products have always been great, but now they're also investing hugely in advertising and getting celebrities such as Bond girl Gemma Arterton, Tess Daley and Reese Witherspoon on board. They're all beautiful, talented women rather than undernourished beanpoles, which I think makes them great role models for our younger customers. It's like the company is entering a new age, and you can be proud to be an Avon Lady!
Lorna Lawlor, 57 is widowed, has two children Mark, 39 and Joanne 38 and four grandchildren. She lives in Newcastle and works as a sales advisor for BT.
When I first became an Avon Lady at 20, I never imagined that I'd be starring in one of their TV recruitment ads 37 years later! I was one of six Avon Ladies to be chosen out of 150,000 representatives in the UK, so it felt a real honour. We all had to go to London to be filmed and it was a really fun experience. I was in two minds about doing it as I'd been widowed five months earlier and was feeling very down. But my family and friends encouraged me, and said it was what my husband Allan would have wanted. Since my husband passed away, my work with Avon has felt a real lifeline, as meeting people and staying busy helps keep my spirits up.
Growing up, I was the youngest of three sisters. We all loved make-up and I first became an Avon customer at 17. Then when the Avon Lady who used to serve us left, I took over her round and started delivering brochures and taking orders. I really enjoyed it, but had to stop as family commitments took over. At 35 I started up again and have now been an Avon Lady for 22 consecutive years! Rather than having a round, I sell to colleagues at BT, where I work as a sales advisor. I've always got a copy of the latest brochure with me in the canteen and find that people approach me when they spot it and are keen to find out more about the products. I take a relaxed approach to selling, but still find it generates a decent amount of pin-money and helps me buy treats and presents for the family which I otherwise wouldn't be able to afford.
2009 is Avon's 50th anniversary in the UK and it's been really interesting to watch Avon has changed over the decades. When it first went on sale in the UK it there were about 80 products, and now there's over 7,500 including new ranges such as of jewelery, underwear, fitness equipment. And of course we've got products such as moisturisers and skincare aimed especially at men, which wasn't the case when I started selling back in 1972!
Avon used to have a reputation for being old-fashioned, but I think it's often at the forefront of new developments. For example, back in 1989, Avon was the first major cosmetics manufacturer to ban animal testing, which many of my customers were really pleased about. In 1997, it was one of the first beauty companies to start selling over the internet. And it's always developing new products, such as the Clinical eye lift gel, which has a gel for the upper eye and a cream for below the eye, which I think is a really clever idea. But the fact that Avon has been around a long time means that it's part of our tradition now – everyone knows about it, and remembers the old advertising jingle – I have some customers who'll say, 'Oh, it's the ding-dong lady' when they see me.
Using Avon is something which often runs in the family. I've never used any other brand and often get complimented on my skin and make-up. My daughter Joanne is an Avon fan as well and my grand-daughters Lauren 8 and Caitlin, 11, Chloe 12, Laura, 16 all love the products. In fact, the 16 year old wears the same mousse foundation and mascara as I do – we're proof that Avon's appeal really does go across the generations!
Yogeeta Mistry, 33, lives in Birmingham with her partner, Tony, 45 a warehouse manager.
I'm young, drive a fast car, go to fashionable bars with my friends and probably don't conform to what most people's idea of what an Avon Lady is like. But I do the job full-time and feel very committed to being an Avon Lady. One in three women in the UK is an Avon customer and it feels great to be part of such a successful company.
I've always loved their make-up. When I was a teenager the brochure coming through the door felt like a real event – my mum and I would put the kettle on, turn the TV off and settle down together to decide what we were going to treat ourselves to.
I became a part-time Avon Lady in October 2006 and in my first four days I generated £500 worth of orders just through family and friends. Even though it was cold and dark I couldn't wait to get out and deliver my brochures and went round the streets I'd been assigned knocking on doors and introducing myself – the response was fantastic. A lot of new representatives feel daunted at the prospect of cold-calling. They're worried that people are going to be rude or slam the door in their face. But the fact is most people are lovely and if they're not interested they'll just say so politely. Lots are really keen though, especially if they haven't seen a brochure for a while, and will almost snap your hand off to get it!
Some customers are loyal to the same products, whilst others like to experiment. If a customer wants to see samples, then we'll sit down together and go through them. I'll also give beauty tips if I feel a customer is a rut with their make-up. I'm tactful about it and I feel the advice is appreciated.
I think that Avon has an appeal that transcends age. On the one hand, it launches products in vibrant colours in line with what's coming off the catwalks and that appeals to young people and students. They're often at a stage when they don't have much money but want to try out different looks. They know that Avon products cost much less than what they'd pay on the High Street, and enjoy building up a bulging make-up bag that can provide them with a look to go with every possible outfit or occasion. Then there are make-up ranges within Avon which have subtle colours and appeal to more mature customers who know what they like and what suits them.
A month after joining Avon, I became a Sales Leader, recruiting and managing other representatives and in January 2007 I left my other job and went full time as I realised I could build a better career with Avon. At the moment I've got 250 in my team and it's growing all the time. I work hard and I earn a good living from it. I can go to nice restaurants, buy nice clothes and I want my next car to be a BMW or a Mercedes! I've noticed that the current economic climate is creating even greater interest in Avon. Customers who in the past might bought make-up with a prestige brand name are trying out Avon because they're interested in saving money – and then staying loyal to us because they love the products. And there are more professional people interested in becoming Avon representatives as they see it as a fun way of supplementing their income. Last week I even signed up an accountant!
I'm so keen on Avon I've even recruited my partner Tony to become an Avon Man! He works as a warehouse manager during the day, sells to colleagues at work and also has his own round selling to customers locally. 99% of his customers are ladies, who are perfectly happy to order their lipstick and underwear from a well-built, six-foot bloke. Basically, times are changing, and Avon is changing with them!
I've always been quite a girlie girl, and I really love make-up. I don't go out of the house without it on, and even when I was in hospital having my daughter I was re-applying lipstick between contractions because I wanted to look nice in the photos we were planning to take afterwards!
So given that I'm such a cosmetics fan and enjoy meeting people, becoming an Avon Lady seemed the ideal solution when I was looking to make some extra money in a way that would fit around family life. Before my daughter arrived I'd been a part-qualified accountant and run a cleaning business, but that didn't allow the flexibility I was looking for. I already knew what it would involve as my mum had been an Avon Lady and I had fond childhood memories of getting really excited when the sample boxes of make-up arrived and we'd try them out together.
I got started with Avon in 2007, when my daughter was 2. We'd just moved from Wiltshire to North Devon, so I thought it would also be a good way of getting to meet new people. I was given an area to cover and set off knocking on doors, handing out the brochure and letting people know I was their new Avon Lady. When you do that, you'll find that most people are interested whilst others aren't, but we log the latter and don't call there again. Lots of people are really keen though, so you feel welcomed far more times than not and it doesn't feel like a hard-sell job at all. In the time I've done it, I've found my Avon round has come to take me longer and longer because I've made friends among my customers and we don't just talk about Avon, we catch up on each others news as well. It's given me a real sense of being part of our local community. Some of the older customers joke and say 'Ding Dong, Avon Calling' when I arrive – I don't mind at all. It means the original advert has stood the test of time, which is pretty amazing really!
Of course, door-to-door selling isn't everyone's cup of tea, but there are lots of other approaches, such as being an Avon Lady through your workplace, through other mums at playgroups or simply having a local territory and putting brochures through letterboxes. I'm a sales leader and as well as having my own Avon territory, I recruit and train other representatives. And I always say that to be an Avon Lady you don't need to be a saleswoman because the products sell themselves. They're good quality, good value and come with a 90 day no quibble guarantee. All an Avon Lady needs to do is to love make-up, be approachable and have a smiley face!
In terms of making money, you get as much out of Avon as you put in. The basic guidelines are that representatives earn £1 for every £4 worth of goods they sell. My own earnings fluctuate as sometimes I'm able to put more hours in, but other times I want to spend more time with my family. The fact that it's flexible enough for me to do that is one of the real pluses of the job – being an Avon Lady fits perfectly around being a mum.
It's interesting to see how the image of Avon has become much more fashionable in recent years. The products have always been great, but now they're also investing hugely in advertising and getting celebrities such as Bond girl Gemma Arterton, Tess Daley and Reese Witherspoon on board. They're all beautiful, talented women rather than undernourished beanpoles, which I think makes them great role models for our younger customers. It's like the company is entering a new age, and you can be proud to be an Avon Lady!
Lorna Lawlor, 57 is widowed, has two children Mark, 39 and Joanne 38 and four grandchildren. She lives in Newcastle and works as a sales advisor for BT.
When I first became an Avon Lady at 20, I never imagined that I'd be starring in one of their TV recruitment ads 37 years later! I was one of six Avon Ladies to be chosen out of 150,000 representatives in the UK, so it felt a real honour. We all had to go to London to be filmed and it was a really fun experience. I was in two minds about doing it as I'd been widowed five months earlier and was feeling very down. But my family and friends encouraged me, and said it was what my husband Allan would have wanted. Since my husband passed away, my work with Avon has felt a real lifeline, as meeting people and staying busy helps keep my spirits up.
Growing up, I was the youngest of three sisters. We all loved make-up and I first became an Avon customer at 17. Then when the Avon Lady who used to serve us left, I took over her round and started delivering brochures and taking orders. I really enjoyed it, but had to stop as family commitments took over. At 35 I started up again and have now been an Avon Lady for 22 consecutive years! Rather than having a round, I sell to colleagues at BT, where I work as a sales advisor. I've always got a copy of the latest brochure with me in the canteen and find that people approach me when they spot it and are keen to find out more about the products. I take a relaxed approach to selling, but still find it generates a decent amount of pin-money and helps me buy treats and presents for the family which I otherwise wouldn't be able to afford.
2009 is Avon's 50th anniversary in the UK and it's been really interesting to watch Avon has changed over the decades. When it first went on sale in the UK it there were about 80 products, and now there's over 7,500 including new ranges such as of jewelery, underwear, fitness equipment. And of course we've got products such as moisturisers and skincare aimed especially at men, which wasn't the case when I started selling back in 1972!
Avon used to have a reputation for being old-fashioned, but I think it's often at the forefront of new developments. For example, back in 1989, Avon was the first major cosmetics manufacturer to ban animal testing, which many of my customers were really pleased about. In 1997, it was one of the first beauty companies to start selling over the internet. And it's always developing new products, such as the Clinical eye lift gel, which has a gel for the upper eye and a cream for below the eye, which I think is a really clever idea. But the fact that Avon has been around a long time means that it's part of our tradition now – everyone knows about it, and remembers the old advertising jingle – I have some customers who'll say, 'Oh, it's the ding-dong lady' when they see me.
Using Avon is something which often runs in the family. I've never used any other brand and often get complimented on my skin and make-up. My daughter Joanne is an Avon fan as well and my grand-daughters Lauren 8 and Caitlin, 11, Chloe 12, Laura, 16 all love the products. In fact, the 16 year old wears the same mousse foundation and mascara as I do – we're proof that Avon's appeal really does go across the generations!
Yogeeta Mistry, 33, lives in Birmingham with her partner, Tony, 45 a warehouse manager.
I'm young, drive a fast car, go to fashionable bars with my friends and probably don't conform to what most people's idea of what an Avon Lady is like. But I do the job full-time and feel very committed to being an Avon Lady. One in three women in the UK is an Avon customer and it feels great to be part of such a successful company.
I've always loved their make-up. When I was a teenager the brochure coming through the door felt like a real event – my mum and I would put the kettle on, turn the TV off and settle down together to decide what we were going to treat ourselves to.
I became a part-time Avon Lady in October 2006 and in my first four days I generated £500 worth of orders just through family and friends. Even though it was cold and dark I couldn't wait to get out and deliver my brochures and went round the streets I'd been assigned knocking on doors and introducing myself – the response was fantastic. A lot of new representatives feel daunted at the prospect of cold-calling. They're worried that people are going to be rude or slam the door in their face. But the fact is most people are lovely and if they're not interested they'll just say so politely. Lots are really keen though, especially if they haven't seen a brochure for a while, and will almost snap your hand off to get it!
Some customers are loyal to the same products, whilst others like to experiment. If a customer wants to see samples, then we'll sit down together and go through them. I'll also give beauty tips if I feel a customer is a rut with their make-up. I'm tactful about it and I feel the advice is appreciated.
I think that Avon has an appeal that transcends age. On the one hand, it launches products in vibrant colours in line with what's coming off the catwalks and that appeals to young people and students. They're often at a stage when they don't have much money but want to try out different looks. They know that Avon products cost much less than what they'd pay on the High Street, and enjoy building up a bulging make-up bag that can provide them with a look to go with every possible outfit or occasion. Then there are make-up ranges within Avon which have subtle colours and appeal to more mature customers who know what they like and what suits them.
A month after joining Avon, I became a Sales Leader, recruiting and managing other representatives and in January 2007 I left my other job and went full time as I realised I could build a better career with Avon. At the moment I've got 250 in my team and it's growing all the time. I work hard and I earn a good living from it. I can go to nice restaurants, buy nice clothes and I want my next car to be a BMW or a Mercedes! I've noticed that the current economic climate is creating even greater interest in Avon. Customers who in the past might bought make-up with a prestige brand name are trying out Avon because they're interested in saving money – and then staying loyal to us because they love the products. And there are more professional people interested in becoming Avon representatives as they see it as a fun way of supplementing their income. Last week I even signed up an accountant!
I'm so keen on Avon I've even recruited my partner Tony to become an Avon Man! He works as a warehouse manager during the day, sells to colleagues at work and also has his own round selling to customers locally. 99% of his customers are ladies, who are perfectly happy to order their lipstick and underwear from a well-built, six-foot bloke. Basically, times are changing, and Avon is changing with them!
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