Although my first thought when hearing the name Lyn Gardner is that of Lyn’s role as theatre critic of The Guardian, the children in my library (and home) all know of her as a writer of children’s books, who tells brilliantly dashing adventure/mystery stories linked to the theatre. Firstly, with the hugely popular Olivia series, and now with her Rose Campion Victorian era novels. So, after featuring Rose Campion and the Curse of the Doomstone as my book of the week, I was delighted to be afforded the chance to ask Lyn some questions.
The Rose Campion series marries love for theatre with the Victorian era. Can you explain why you picked this historical period?
It was the golden age of music hall, a period that produced stars such as Marie Lloyd, Vesta Tilley, Dan Leno, Little Tich, people who at the height of their fame would be performing at a network of halls and theatres across the country. Every city, and even big town, had its music halls. London was stuffed with them. The stars were the celebrities of their day and the most successful among them were huge earners. At the height of her fame, Marie Lloyd could command almost £1,000 a week, which was a fortune.
The music hall was a way out of poverty for many. Vesta Tilly was just one who made her family’s fortune by performing as a child. In Rose Campion and the Stolen Secret, the first book in the series, when Campion’s is in desperate straits and failing to attract an audience, Thomas Campion employs Aurora, otherwise known as the Infant Phenomenon. Such child performers were hugely popular.
The story packs so much into one book: foundlings, thievery, Holloway prison, and of course magicians and the bullet trick. What research did you do in order to write the novel?
I’m not a historian, and this is a work of fiction not fact. I’ve taken some liberties, particularly around the justice system and the way it operated. But I did want to write a novel that genuinely gives a sense of the sights and smells of Victorian London, and what it would be like to live there. Also what it would be like to be a working child during that period.
Of course I did some research and read books about the period, but I reckon that it’s easy to get bogged down in research and forget that you are trying to write a really rollicking good mystery story. So I tend to write and then check afterwards. I was fascinated by the bullet trick as a child, and when I was writing Rose Campion and the Curse of the Doomstone I was determined to incorporate it into the action.
A main theme running through the Curse of the Doomstone is what’s seen and unseen – trickery of magicians and thieves, and being observant. Is this something you’ve picked up from years of watching theatre productions as The Guardian’s theatre critic?
I don’t think I am a particularly observant person. What happens in theatre a lot of the time is exactly what happens in a magic show: the audience is directed to look at one thing that is happening so they don’t see something else that is also taking place.
It’s all part of the suspension of disbelief that makes us fall through theatre’s rabbit hole into a new world, even though we know that it is only actors on a stage playing a role. Of course if you go to the theatre as much as I do, you start noticing the way a show works, and its mechanics, but even when you do know, I’m interested in the way you still succumb to the magic.
The theme also allows for lots of exploration of identity and the way people present themselves to the world: how they appear and how they really are, those everyday deceptions that we all practise to some degree.
In Curse of the Doomstone these become magnified as people pretend to be something they are not or—like Rose—are trying to find out who they are. Or in the case of Aurora, trying to adjust to the fact that she is not the person she thought that she was, and if she is going to be happy she needs to learn how to straddle two very different worlds.
The book highlights the class divide that separates theatre goers into different theatres/areas of London. Do you think a class divide still exists in theatre?
Theatre certainly has a problem with diversity. It is easier to become a theatre-maker today if you come from a background where there was enough money for theatre trips, and if you have parents who help you get a good education and can support you in the early stages of your career. So yes, I do think that class is an issue in theatre not just in terms of theatre-goers, but also around who makes theatre.
One of the things that spurred me to set the story in a music hall was that while the late Victorian era was one of rigid class divides, the music hall was a place where rich and poor rubbed shoulders together. That was true for the performers as well as the audience, which lends itself to fluid social situations and some very vivid characters.
I was interested in writing a novel set in a music hall in the late Victorian period because I wanted to write a book that was full of the joy of performance, but which doesn’t shirk the realities of Victorian life. From the pea-soupers, to the fact that the streets were full of horse dung, that thousands of children lived on the streets, that landlords took advantage and charged high rents for appalling housing, and life could be short and brutal for those at the bottom of the pile. In fact very much like life is today in the UK (one of the richest nations in the world), if you are one of the 3.7 million children living in poverty.
But I hope that it’s also a book full of warmth and laughter that reminds us how much the Victorian music hall has influenced popular entertainment today. The annual pantomime in your local theatre, and TV shows such as Britain’s Got Talent, are the direct descendants of the music hall. So while the period I’m writing about may seem very long ago, there may be more connections and parallels than immediately meet the eye.
And more generally, is there a play that you would say is essential viewing for children?
There is so much brilliant work out there from big musicals such as The Lion King or Matilda, to small scale shows made for the very young, including babies. Reading fires the imagination and so does theatre.
What is your favourite children’s book?
Where the Wild Things Are by Maurice Sendak. It’s so psychologically accurate. Whenever I read it, it takes me straight back to the feelings of rage and impotence I had as a small child when I was thwarted by my parents or had behaved badly, and I imagined ways of exerting power. Such a brilliant, brilliant book.
There have been some brilliant stories adapted recently for the London stage – Lord of the Flies, Running Wild, Treasure Island. Is there any children’s book in particular that you would like to see adapted for the stage?
There are so many great books out there. But what I would really be interested in seeing is more original plays for children and young people, rather than page to stage adaptations.
What is your favourite play? Or best production you’ve ever seen?
That changes all the time.
With huge thanks to Lyn Gardner for taking the time to answer my questions. You can buy the latest Rose Campion novel here.