For these times

As a lifelong admirer of Charles Dickens’ works, I can truly appreciate the challenges that one with dyslexia might face when tackling his lengthy sentences. Yet, reading Barnaby Rudge for Audible was an accomplishment I hold dear. It was like navigating through a labyrinth of words, but emerging on the other side with newfound understanding and appreciation for Dickens’ genius.

Hard Times is on Radio 4 on Sunday 29 September at 3pm. Little Dorrit is on at 3pm on Sunday 13th September, and Our Mutual Friend follows at 3pm on Sunday 3 November. Add them to your collection now.

David Morrissey portrays Thomas Gradgrind, a prosperous school administrator, merchant, and member of parliament, who is deeply committed to the principles of utilitarian, logical reasoning, in Charles Dickens’ novel “Hard Times.

Were you introduced to Dickens as a child?

In my school days, neither Dickens nor Shakespeare were on the reading list. Instead, I encountered them much later in life, around my early twenties. At first, their large and voluminous books seemed intimidating, but once I began to read, I discovered that there was nothing daunting about their language. They flowed effortlessly. It’s now known that they wrote their stories episodically, similar to modern soap operas, captivating everyone. This is why newspaper proprietors adored them so much – Dickens was a significant factor in driving paper sales. He used cliffhangers and dramatic moments to keep readers hooked. I played Bradley Headstone in the 1998 adaptation of “Our Mutual Friend” on BBC2, a story rich with intriguing characters: humorous, tragic, even political. While “Hard Times” also has a modern political relevance. So yes, I didn’t study him during my education, but once I started reading, I was completely captivated!

Tell us more about the connections you see to current politics in Hard Times.

For years, my concern has centered around individuals such as Michael Gove during his tenure as Secretary of State for Education [2010-14]. He denigrated what he termed “easier options”: arts, music, drama, media studies, and so forth. In essence, he was communicating to a large cohort of state school students that these subjects were unimportant. Instead, he emphasized the importance of maths, English, and science – subjects that businesses allegedly prioritize. The aftermath of this approach has been a suppression of creativity, imagination, and curiosity, as well as the diminishment of the value placed on fantasy.

Hard Times has a modern political aspect to it

What relevance do you see between Dickens’s novels and contemporary times?

In simpler terms, when we discuss cutting back on arts education in public schools, it’s evident that the opposite is true in private schools, where some institutions boast theater and orchestra facilities as good as those found in London’s West End and the Royal Philharmonic Society. This suggests that access to the arts is primarily for the wealthy, excluding the working class. It creates a narrative that implies “This isn’t for you.” Historically, the ruling classes have been wary of educating the masses because educated people tend to question things and seek knowledge. I hope that Labour is making difficult decisions now so they can rebuild the kind of society I had hoped for.

What do you think Dickens would make of modern-day Britain?

It’s likely he would express shock at how little progress has been made.

Are there any Dickens roles that you would love to play?

Dombey [from Dombey and Son]. I think he’s a great character. There’s something about him that I have always loved. Like Gradgrind, he’s a character that’s stuck in his ways. But he’s also grief-stricken. He’s a man who felt that he had one destiny, and it’s snatched away from him, and he can’t live in the present because he is so locked into the past. One of my favourite Dickens books is Night Walks. He was an insomniac and he used to just walk round London at night and write about his observations. It’s very much ruminations on life and the poverty-stricken side of London. Dickens, himself, as a character, I find fascinating. He was obviously a complex individual.

In the series ‘Little Dorrit’, Jason Watkins plays two characters: Charles Dickens, a renowned author, and the ruthless murderer, Rigaud, who openly admits to his crimes.

When were you introduced to Dickens’s work?

Initially, I became acquainted with Charles Dickens through films, particularly “A Christmas Carol.” However, when I was around 11 years old, we paid a visit to an unusual relative of my father’s who lived in seclusion on a farm in Lincolnshire. By the end of the day, they were all quite drunk and ended up gifting me a Caxton Press 1910 collection of Dickens’ works. I still possess it; it’s a marvel to behold. Despite this, my struggle with dyslexia prevented me from ever reading these books.

Was it intimidating for you, given your dyslexia, to take on the challenge of reading a novel like Barnaby Rudge, as Dickens is known for writing particularly lengthy sentences?

Affirmatively, I informed Audible that I planned to rush through the content, and they responded by encouraging me to take my time instead. Despite their suggestion, I found a method to complete the reading of the 885-page book, which I consider one of my major accomplishments.

In the television series “Little Dorrit,” you are portraying two contrasting characters: Rigaud and Charles Dickens. One character is a ruthless murderer, while the other is a compassionate and understanding man. How did you manage to embody these two distinct roles?

Fantastic! In essence, that’s exactly what I’m getting at. The narrative is remarkably ingenious, reminiscent of Dickens’ genius. He’s essentially exploring his own role in a world he has crafted, infusing the book and its characters with a piece of himself, much like any skilled writer would do. And as for Rigaud, such a complex character – cunning, manipulative, morally questionable… It’s almost exhilarating to portray such villainous roles.

Dickens would be appalled by the amount of child poverty that still exists

One notable aspect often recalled about Little Dorrit is the Circumlocution Office, which seems to exist primarily for the advantage of its bureaucrats who are frequently inept, obstructionist, and self-centered. Is it plausible that this resonates with modern audiences?

Isn’t it ironic how the advancements in technology can sometimes strip us of our human qualities? Just as Dickens highlighted the dehumanization caused by the Industrial Revolution and its associated poverty, we are now grappling with understanding where humanity fits into this technological revolution. I had a conversation yesterday about the challenges of scheduling a doctor’s appointment. You have to be quicker than others to press a button at 8:30 am, which seems absurd. And when you hear “We are experiencing exceptionally high call volume at the moment,” it feels like a lie, doesn’t it? It suggests they don’t have enough staff, and they make us wait because they don’t want to invest in more resources. I think Dickens would be intrigued by uncovering the bureaucratic deception of our modern healthcare system.

What do you think he would make of modern Britain?

It seems to me that he’d likely find it shocking that child poverty persists on such a grand scale, even within one of the world’s leading economies. I believe he’d appreciate the openness and freedom of expression found in social media. However, given today’s sensitive climate, it’s likely he’d be quickly criticized or ‘cancelled.’ Yet, I have no doubt he’d be well-informed about these matters.

Are there any Dickens roles that you would love to play in the future?

It’s intriguing that I’ve always felt a connection to the villainous characters like Scrooge or Bill Sikes from Oliver Twist and Magwitch in Great Expectations, given my background. These roles appeal to me, so revisiting Dickens’ works again seems inevitable now that you’ve brought it up.

2024-09-27 15:34

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