This is galanthus ikariae Bonnie Scott, a snowdrop named after my daughter when she was a baby in 2008.
It was grown by famed snowdrop guru Jim Leatherland in Northamptonshire, and I thought I’d lost it. But buried among some overgrown hardy geranium, with a couple of flowers and its stripy leaves, there it is, nearly eight years on and still alive!
I must split it and move it once it’s G finished flowering, this time writing down where it is!
This is galanthus ikariae Bonnie Scott, a snowdrop named after my daughter when she was a baby in 2008.
Review of Cinderella, with John Partridge and Cbeebies’ Sid, at Royal and Derngate, Northampton, 2015
Cinderella Review, Derngate theatre Northampton.
THERE’S a tradition with many families at Christmas that shows more faith than going to midnight mass – and that’s booking a year in advance for the Derngate panto.
Lots of Northamptonians do it – after all, the Derngate pantos are fairly traditional and you should reasonably expect something with a famous face, some sparkly costumes and the requisite number of ‘He’s behind you!’s.
They are always Qdos productions, a vast entertainment group who put on commercial, traditional pantos, usually with at least one celebrity turn, up and down the country. Next door at the Royal you’ll find something a little less panto and a little more ‘Christmas play’, and this year it’s the Snow Queen.
If it’s dames and double entendres you’re after, Cinderella has those in abundance. Ben Stock and Bobby Delaney as the Ugly Sisters give it the full-on panto dame routine, with amazing costumes and good comic timing. But they get rather pushed into the chorus by ex-Eastender and rumoured Big Brother contestant John Partridge as Prince Charming, whose stripping and whooping and winking make you think that Cinderella would be furiously swiping left on the fairytale version of Tinder.
When Partridge started singing, and he can certainly carry a tune, my 7-year-old turned to ask: “Is it the interval soon?” She and her 8-year-old friend fidgeted far more than they usually do at the theatre while our 12-year-old, trying his hardest not to sound un-cool, asked if some of the jokes were really suitable for kids, “as it isn’t even like you have to work out what they really mean, it’s just rude stuff.” Then he went back to playing games on his phone.
I’ll admit I was watching through gritted teeth through quite a lot of Cinderella, as young actress Rachel Flynn battled to be heard above her braying prince and the whiney Buttons, played by Britain’s Got Talent semi-finalist Danny Posthill, whose main talent was rapid-fire impressions.
There was a big cheer from the audience when Cbeebies favourite Sid (Sloane) appeared, and he made the cheerful most of his role as the prince’s servant and sidekick Dandini. The beautiful glittery costumes and athletic dance moves of the girl dancers got our seven-year-old back watching and the audience seemed to be whooping along with it all. Either that or they’d been wise enough to have a proper drink beforehand.
There is an intended ‘wow’ moment involving a mechanical horse, some bubbly snow and some stage flying work, but I’m afraid I couldn’t stop laughing at the horse’s gammy leg.
I’ve been to a lot of pantomimes over the years and despite the jokey reputation for it being a long way from high art, the writing has to be good to carry the clichés and flamboyance that comes from having to recycle much-loved stories and carry slightly-famous non-actors.
With Cinderella I got the feeling that the production bosses just couldn’t be bothered this year. Stick some faces up there, work some good dancers into a few routines, call the local dance school for some sweet kids for the chorus, find someone off a TV talent show that at least the teens will recognise and shove in some fart jokes. Work them all solid for a couple of months and take the cash that people effectively pledged without knowing what they were really going to get.
If you’ve already got tickets, or were thinking of going, don’t let this put you off. But if you can, make sure you drop into the theatre’s new Bar Hygge beforehand, for a ‘quick stiffener’. There you go Qdos scriptwriters, you can have that one for next year.
THERE’S a bunch of four and five-year-olds running up and down the steps in the bar area of Royal & Derngate, completely oblivious to everyone around them. The game escalates quite quickly into Slide-Down-The-Steps-On-Your-Tummy.
Oh, and they are all girls, most dressed in very sparkly dresses.
Our seven-year-old Bonnie has settled herself up onto a bar stool and is looking down on them, literally, while shaking her head: “Ah, reception kids,” she sighs, sounding more like a pensioner than her own grandparents. She’s read the blurb about the show we’re waiting to see and seen that it’s for under-fives – and she’s seven.
We’re here, Bonn and I, to see one of the Royal & Derngate’s famous ‘immersive’ shows for children. These are often linked to the Royal’s annual Christmas show and this year it’s Oh no, not snow! which references The Snow Queen, playing to rather larger audiences upstairs.
Oh No, not snow! (which will become ONNS for the purposes of word count) is being held in the Underground at R&D, an innovative space that allows directors to make sets as ‘rooms’ which the audience can walk through as part of the show.
The story has already started as the audience of kids and carers walk through to put away their coats. Sam (played by Max Gallagher) introduces himself and gets the smaller members of the audience to rip up paper to make snow.
Then his mum arrives and tells him to take his ‘friends’ (that’s us) to help tidy his bedroom.
What follows is a journey through a couple of self-contained rooms (I don’t want to spoil the surprise with too much detail, but there is a ‘wow’ moment) with the audience of parents and pre-schoolers in tow.
Director Chris Elmer-Gorry has created a delightful introduction to the fantasy world of theatre for the under-fives in ONNS, and I think it’s a real strength of R&D that they create these ‘tasters’ of theatre for the very young.
There are moments where the tiniest tots, oblivious to the fact there is a story being told, get involved in the action, and the actors, particularly Kate Hearn as Polly, do well to manage and ad-lib around their impromptu cast members. Sometimes the children are invited to help the cast in certain tasks, and sometimes they just join in anyway, and it’s up to the skill of the performer to manage the situation without breaking the flow, as there’s already no ‘fourth wall’ of traditional theatre.
I’ve reviewed several of these immersive shows over recent years and in this case Bonnie, aged 7, was totally engrossed in the action and the story.
There are a couple of songs that went on marginally too long for some of the kids, who I watched chucking ‘snow’ in strangers faces instead. I think the age of the children, set at under 5, could go up to six or seven, but I’d also put a limit on the number of adults coming with each child, because at times it seemed that there were just too many big people in the room closely stalking their offspring, rather than sitting back and letting them join in the action with the other children.
Oh No, Not Snow runs in Derngate’s Underground until January 3, with limited tickets available from the Box Office on 01604 624811.
I’ve been needing a deadline to get my lardy backside shuffling a little further than just once around Northampton’s Racecourse. What better excuse than joining several hundred people – and dogs – dressed as Father Christmas?
The Northampton Santa Run is to be held on Sunday December 13 at 10.30am, for a short 3km jog or (for those of us who plod) walk. You can enter with your kids and even enter with your dog – the aim is to raise much-needed cash for Northants-based charities.
The six charities who will benefit are the Cynthia Spencer Hospice, St John Ambulance, The Warwickshire & Northamptonshire Air Ambulance, Rotary Club of Northampton, The British Red Cross and Northamptonshire Health Charitable Fund.
The entry fee is £18 for adults and £8 for children and includes a Father Christmas outfit that you can take away with you and a finisher’s medal. Or you can raise even more by getting sponsorship for your run.
Organiser Chris Dolan said: “We’re hoping to see thousands of red and white bearded participants run, or walk, two laps of Becket’s Park, raising as much as possible for the six Northants charities. We’ll be doing lots of things to get people to sign up as Santas in coming days, so keep an eye out for us!”
If you sign up online you will be able to collect your Santa suit and race number from a pop-up shop in Northampton Town Centre before the race event on December 13, to avoid any queues on the day.
Anyone wishing to take part can apply online by visiting the event’s official website northamptonsantarun.com or for more information email email@example.com
Once upon a time in the very distant past, I wrote regular restaurant reviews for the local daily paper.
We’d be allowed to claim £30 on expenses (for two, with drinks!), and always went incognito, so we’d be treated the same as any other paying member of the public.
Restaurant reviews were good ‘talkers’ for newspapers, as readers would like to share their opinions, especially once the Internet arrived and made commenting on stories far easier.
Anyway, in my reviewing days, I’d sometimes take Bloke, father of my children and fellow journo, who unfortunately considered food reviewing an almighty pain in the arse. He would prefer the Just Being A Normal Punter aspect to include Not Bloody Reviewing Everything.
Therefore my favourite restaurant reviews were with another journalist, Jess. For several years we’d use sporadic restaurant reviews as an excuse to catch up. We were both working full time, having babies and generally being rubbish at staying in touch. Restaurant reviews also meant we ate proper food rather than picking at the kids’ leftover fish fingers or eating nothing but crisps while driving from one job to another.
Reviews are not as easy as you might think. They can be utterly tedious to read if the writer insists on something along the lines of ‘we went here, we had this’ using words like ‘nice’ and ‘tasty’.
Reviews should paint a picture of the experience, even if the only picture published is a GV: a general shot of the restaurant from the outside.
They should ultimately tell your reader whether it’s worth handing over your hard-earned cash. Usually we were pretty happy with our experiences. Restaurateurs would display framed cuttings of reviews behind their tills. Sometimes they weren’t so happy: one threatened to pull their advertising from the paper because I’d said the service was slow. Another establishment, that had served us raw chicken, then served me, the editor and the newspaper group with writs claiming defamation in the review. It later transpired the place was being run by a crook, who had run out on other restaurants and debts around the UK, and he’d finally been caught.
Time moved on. Jess and I had yet more kids, our lives went in different directions, we were still good pals, but without the regular meals.
Then we met up again and made a date to meet for lunch, at Academy Coffee Haus, tucked away behind Debenhams in College Street Mews.
For once I wasn’t late, and even cycled there instead of driving (nearest parking would be in Marehold or on street on Bridge St). But Jess was poorly and couldn’t make it.
I decided to stay, and in the spirit of our previous culinary adventures, I’d review my lunch experience.
The cafe is small, it has around 30 covers, simple wooden chairs and a couple of padded benches. Ceiling fans add character and I presume some air in the summer months.
There’s a loo that is small and probably not wheelchair accessible, but which had a changing mat and emergency nappies and wipes, something I’d have appreciated when wrestling four children aged under ten around town in the past.
I had a couple of good cappuccino coffees, in a decent sized cup with a biccy on the side, and a huge chicken and sundried tomato salad, with olives and pinenuts.
I think the menu did say it came with pesto bread, but I didn’t get any, and to be honest I totally forgot about this while eating, so it clearly wasn’t needed. The chicken was well seasoned and hot, and was delicious with both fresh and sundried tomatoes, pinenuts and black olives.
Eating alone was actually a pretty sociable experience. I chatted with a young artist who had just moved back to Northampton from London after realising she just couldn’t go on simply earning money just to pay the extortionate rent. An old journo contact who now works in PR by coincidence arrived to have a coffee and cake lunch just to escape the office, and joined me for a chat too.
One waitress had to escape outside for five minutes due to an attack of the most entertaining hiccups I’ve ever heard, like a tiny puppy yelping. On another table a girl was telling her friend how desperately unhappy she was at work, and vowing to leave, while her pal tried to talk her round.
The staff were friendly but not intrusive, and my total bill came to £9.45, pretty good value for a warm and well fed couple of hours, with free WiFi.
If you’re in Northampton I’d recommended it, whether meeting friends or not. It’s far from a lonely experience.
Review of Gaslight, Royal & Derngate, Northampton. (Press night performance)
By Hilary Scott
YOU usually find mention of the set design for a new theatre production much further down in a review, but in Gaslight at Northampton’s Royal Theatre the stage is the first star you lay eyes on.
With the action confined to the classic ‘one-room-in-a-period-setting’, it’s a tough job to be original.
But William Dudley and the Royal’s set-production team have created a stunningly clever Ames Room – one of those that alters your perception of the things within it – which perfectly reflects the theme of the play: manipulation of someone’s mind to make them doubt their own sanity, or Gaslighting.
The use of clever modern video projection, in a 130-year-old theatre, for a play set in stifling the stifling late Victorian age shouldn’t work – yet it does, brilliantly (except for one very ridiculous section near the end which doesn’t, and made us laugh when we should be shocked).
We had no time to leaf through the programme beforehand, which is just as well, because then we had no spoilers or expectations. This is a psychological thriller, which made the entire audience shift uncomfortably in its seats as the stellar cast messed with our minds.
Tara Fitzgerald is exquisite as the vulnerable, bullied Bella Manningham, running the gauntlet in her own house between her domineering husband Jack, played menacingly by Jonathan Firth (I was two-thirds through before I recognized him as Colin’s brother), the servants, and her own sanity.
Fitzgerald stars in the globally popular Game of Thrones and I suspect a percentage of the packed audience was there to see her.
Is her encounter with her apparent saviour, the rosy-cheeked Inspector Rough (Paul Hunter), just another example of her mind playing tricks?
No spoilers: You’ll have to go and see for yourselves.
Gaslight, a Made in Northampton production, runs at Royal & Derngate until November 7. Box Office on 01604 624811 or visit www.royalandderngate.co.uk
Review of Brave New World, world premiere, at Royal and Derngate, Northampton, running until Saturday September 25, before touring nationally. Press night performance.
By Hilary Scott
IT is a compelling, and at times uncomfortable, adaptation of Aldous Huxley’s dystopian Brave New World which challenges the audience at Northampton’s Royal theatre.
Those not familiar with the original 1931 text will not struggle to find familiarity in its themes, particularly pertinent to contemporary issues of the stupefying capitalism of western society juxtaposed with the violence, poverty and despair of the abandoned poor.
And hey, you get the story that spawned the Hunger Games trilogy, and even a Poldark-esque shirt-off scene from the floppy-haired William Postlethwaite as the passionate outsider, John the Savage.
The production whacks the viewer straight between the eyes – opening with a boom of music and lights and steading with the sterility of the laboratory conditions of the hatchery and conditioning centre.
For this is a world 500 years in the future where parentless babies are grown in test tubes and genetically modified to join their caste of clones to work in factories and sewers, or to be the educated Alphas and Betas of the elite.
But there are no wars or crime; this is a society controlled not by pain and fear, but of perceived happiness, conditioned from birth and powered by sex, consumerism and drugs. In this manufactured utopia, nature and art are treated with distain, while gyms and gadgets are the trophies of the elite. The citizens of this World State have everything they think they want, no family bonds, no emotional ties, an ecstasy-style drug called Soma, promiscuity and entertainment, and an indifference to death. “Everyone belongs to everyone else.”
Happiness is essential, and those misfits who aren’t happy and promiscuous are shipped off with their unwanted emotions to remote islands.
Meanwhile, out of sight and left to rot are the majority of the population, the Savages, who live ‘naturally’ while imprisoned in vast ‘reservations, occasionally gawped at like zoo animals by the holidaying Alphas.
These two cultures come into contact with the discovery of a young man accidentally born naturally in a reservation, and brought back to see the utopian world of his elite parents. John the Savage, educated in secret by reading the complete works of Shakespeare, sees the world through the constraints of ancient, Tudor rules, and is both enticed and repulsed by the hedonism of the World State.
On press night the theatre was packed, and any early-run technical issues had clearly been fixed, as the multimedia production was visually stunning. Huge video screens hung above and around the stage adding texture and depth while the original music by These New Puritans was perfect for the adaptation. The casting is excellent, particularly for the performances by Gruffudd Glyn as the bullied misfit Bernard Marx, Samantha Pearl’s naturalistic portrayal of conformist Polly, Olivia Morgan’s confident Lenina and Postlethwaite’s conflicted savage. All ones-to-watch.
Also in the talented cast of ten is Abigail McKern as Linda, the bedraggled former Beta elite and John’s reluctant mother, who gives both mature gravitas and light relief to the piece, while playwright Dawn King’s adaptation cleverly morphs the dictatorial World Controller Mustapha Mond into the female Margaret Mond, played with cold indifference by Sophie Ward.
There were issues – particularly with the pacing and delivery in the first half when the necessary set-up of the story meant the audience was starting to lull into a Soma-like stupor. It just needed to be faster, more dynamic and daring, to match the visual staging. There were a few fluffed lines in the second half, but nothing too distracting and I’m sure this is a production that will gain momentum and develop as the run continues.
It is a definite go see; an excellent story and a timely reflection, albeit written in the past about the distant future, on our own present. It’s no wonder Spielberg is planning a film version.
For tickets, visit royalandderngate.co.uk or call the box office on 01604 624811
IN the semi-conscious blur of an early, school-morning wake-up, I could swear I heard John Humphries tell me the BBC was going to fund a pool of 100 reporters to help local papers.
I jolted awake.
Humphries, rather than standing shouting at the end of my bed, was on BBC Radio 4’s Today programme, being typically bombastic, appearing not to have read the story he was discussing live on air.
Media pundit Steve Hewlett filled in the gaps: The BBC, the state broadcaster, funded by taxation via your licence fee, was proposing to fund 100 reporters across the country to cover public affairs stories (that’s anything involving councils and court) and share their content with regional newspapers.
Hang on, I hear you ask, surely court and council stories are already covered by local papers; in fact, aren’t they the bread and butter of regional news? Isn’t that what every cub reporter spends their early years covering, honing their shaky shorthand and getting shouted at by angry relatives of defendants, or councillors who have opened their mouths without thinking (again)?
No. Those days are gone. In reality, apart from the papers based in bigger cities, and those who are still producing a daily print run, the chances are that your local paper (which you probably read online rather in print), will no longer send a reporter to council meetings unless there is something particularly sexy on the agenda, (and I use the word ‘sexy’ purely because it stands so uncomfortably alongside the word ‘council’).
Instead, the paper might cut-and-paste a press release written by a communications officer at the council (who probably used to work at the paper but now earns twice the salary without having to cover evenings and weekends).
Chances are, the taxpayer-funded press and communications office for your local council or police force will have more staff than the combined newsrooms of all the media outlets in the area. But I digress.
Would you, as an editor of a regional weekly paper and associated website, with one and half reporters available on a given day, 30 pages of editorial to fill and a target from management of several thousand web hits, then send a reporter to cover a council meeting or court case that may take hours to get to the interesting bit? Oh, and then give them time off in lieu for working late? Or would you use the press release version with its already-sourced quote instead and get on with the other stuff?
Similarly, you will probably have seen your local papers publish slightly out-of-date sentencing results of court cases, sent by HM Courts Service in an attempt to show they do manage to drag some wrong-uns through the archaic justice system. It’s as popular these days to trawl the lists of convictions for people you might know, as your parents would have scanned the Births, Marriages and Deaths section of the paper in its print heyday.
But is there a regular court reporter, either for a paper, a broadcaster or as a freelance, actually based inside your local magistrates or crown court? Are cases covered in full if they don’t involve rape and murder? Again, highly unlikely unless you are in London or a large city.
Many would argue that unlike in past decades, this means the Fourth Estate is failing in its duty to demonstrate democracy and justice being seen to be done. And I’d also argue that some cracking tales, the ones that inevitably crop up buried in a weighty council agenda, or during a full day spent in court, are also being missed.
And all this at a time when there is a gigantic audience, a massive thirst and an enormous platform, via smartphones and tablets, for genuinely interesting stories. Think no one is reading papers? Imagine that all the people you saw today reading smartphones were actually reading newspapers – chances are they will all have clicked at least one news site.
Anyway, back to the promised 100 new journos, armed with their sharpened pencils, ready to throw themselves into the farthest reaches of council chambers and crown courts from Carlisle to Truro,. (There are 91 Crown Courts, 330 magistrates courts and 400 odd council chambers).
In his speech today (7/9/15) BBC Director General Tony Hall (a former BBC broadcast journalist) stated: “We’ve been working with our local newspaper partners on an exciting scheme.
“Local democracy really interests me. I’ve seen for myself how important our local radio stations are, and I’m really proud of the way they serve their communities. But I now want us to go further. So, in future, The BBC would set aside licence fee funding to invest in a service that reports on councils, courts and public services. And we would make available our regional video and local audio for immediate use on the internet services of local and regional news organisations.
“In my view, that’s good for audiences, good for the industry but we look forward to hearing the views of others. Together with our partners we look forward to consulting on this scheme and adapting it as we learn from the consultation.”
Naturally, the immediate reaction about the proposal was pretty one-sided (of course it’s far easier to vent on news stories these days via the comments section, rather than having to find a pen, write a letter, buy a stamp, go to the postbox…).
The initial general reaction online could be nutshelled as follows: Why should taxpayers’ money be used to prop up large commercial media organisations who have asset stripped the newsrooms of once popular regional papers?
And this is before the big newsgroups got involved. By the afternoon they were venting via the Guardian.
In the detail of its proposal the corporation says the operation would have to be “run by the BBC” and that any news organisation, “as well as the BBC itself”, could compete to win reporting contracts.
“It is hard to avoid the conclusion that the BBC’s proposal … [is] anything other than BBC expansion into local news provision and recruitment of more BBC local journalists through the back door,” said Ashley Highfield, the vice chairman of the News Media Association and chief executive of regional publisher Johnston Press.*
John McLellan, director of the Scottish Newspaper Society, was equally scathing, describing the plan as a “Trojan horse” and a “further expansion of the BBC’s encroachment”.
“It’s a Trojan horse because under the guise of being helpful, the BBC would end up replacing independent local news and worse than that would replace local news agencies,” McLellan told Radio 4’s World at One. “”It means the BBC effectively replaces local newsgathering.”
*[…and former BBC employee who dreams of being DG one day, I reckon…]
Back again to my unexpected news alarm from John Humphries.
I pay my BBC licence fee and think overall we get pretty good service. But you want to save some money in your charter renewal Mr State Broadcaster? Here’s some ideas:
- Stop putting half a dozen reporters and presenters on a story that only needs one. Stop doing expensive live OB reports in front of darkened buildings, especially Downing Street.
- Help your regional TV reporters by pool-sharing jobs with papers or hyperlocals – your broadcasters are stretched by the huge areas they cover. Let them be journalists.
- Stop equating the success of your local radio stations to their Facebook likes. Good stuff will be shared anyway.
- Invest in your local stations. But let them cover features and long form investigations and stop wasting time and money repeating what the papers already do better.
- I love BBC4, but I think a lot of it could be on BBC2. Keep the content, just move it and make room by binning all of those ridiculously expensive lifestyle programs with ‘celebrities’, especially home-makeovers and chefs (except Bake-Off, keep that). Let the commercial channels do them, where they can ‘product place’ to their heart’s content.
- BBC3 is more important than you think and should stay as a terrestrial channel (seeing as it is the only youth channel available).
- Get over your obsession with ‘Talent’ and hire people who know what they are doing.
- Have fewer meetings, make quicker decisions and implement stuff faster.
Feel free to add your own, as I’m in a post-news story ramble.
Apart from being interested in this stuff as a journalist, journalism academic (I lecture in journalism to university undergraduates) and better-half of a local newspaper editor, it bothers me as a member of the public too. We should be getting more impartial coverage of public affairs. And there are some really essential stories we’re not hearing enough about.
OK, it’s a universal truth that newspaper journalists have always liked to bitch about BBC journalists (they get paid more, they nick our stuff without giving credit or links (I’m looking at you Radio 4), they actually DO talk like they are in the spoof W1A, they might be posh/public school/Oxbridge, they still get expenses, and they get better reception from punters simply by saying ‘I’m from the BBC.”
But that’s just banter. There are some really fantastic, dedicated regional BBC reporters and presenters who work their backsides off to get their programmes out for their non-Londoncentric audience and they will be wondering what this latest idea will mean for them.
The real reason Humphries woke me with a start this morning is because I’ve actually been sitting on the consultation panel between the BBC, regional publishers and hyperlocal media organisations for the past year. We’re supposed to be having a further meeting and more detailed feedback session next week.
Early on in the discussions, in the ‘blue sky thinking’ phase, I raised the idea of the state broadcaster staffing council or court in areas where court and council wasn’t already covered, and sharing content with everyone else, similar to what happens during visits involving the Royals via the ‘Royal rota pool’.
The idea was deemed too expensive to do properly, and politely shelved.
Or so I thought . . .
Secrets of the Swiss Garden…in Bedfordshire: How Shuttleworth’s garden is maturing a year on from £3.6million restoration.
IT’S a curiosity, that’s for sure. A nine-acre landscaped garden based on a Regency fondness for all things Swiss.
Swiss Garden, between Bedford and Biggleswade, has a ferny grotto, thatched hideaways on handmade hills, a whole load of 150-year-old fake stonework and a meandering stream with precarious humped bridges.
But in recent history – on and off between the end of the Second World War and the recent £3.5million restoration – the Swiss Garden was neglected and all but forgotten, vandalised throughout the ’70s and ’80s and kept just-about intact, thanks to the cash-strapped local councils and determined volunteers.
With not so much as a hillock in the flat Bedfordshire landscape with which to create his mountain-style retreat, the wealthy Lord Robert Ongley started his European fantasy almost 200 years ago. He began by making some fake…
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“Local newspapers hold public authorities to account. They report on council meetings – and taxpayers know if their money is being spent wisely. They publish police appeals – and witnesses come forward.
“They cover court cases – and communities know when justice has been done. And they scrutinise local politicians – so voters know if their MP is working in their interests.
“Second, local papers continually fight for their communities, agitating for change, and, very often, succeeding. With their commitment to campaigning on local issues, local newspapers aren’t just breaking the news, they’re making it.”
The gushing words of praise prime minister David Cameron lavished on the regional press when he agreed to support the Newspaper Society’s Local Newspaper Week during 2014.
Sadly, he seems to have forgotten just how much he values the regional press, if actions of his party’s spin doctors in recent weeks are anything to go…
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