BEETHOVEN TRANSFIGURED ( THE NEUEN EFFECT )

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To transfigure: to transform into something more beautiful or elevated

There are experiences in all our lives that so completely transcend the mundane that we step out of time completely. Those experiences live on in the eternal present in our heads and we are, on some deep molecular level, altered by them – utterly.

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I had one such experience recently. I was not the sole participant in the event that prompts these words. But I dare say many of the 300-plus performers who shared the stage with me at UCLA’s Royce Hall felt similarly. We were there for two reasons. First to perform two of Beethoven’s great choral works, the Mass in C and the Choral Fantasy. Second, to mark and celebrate the extraordinary musical life of our conductor and choirmaster, Donald Neuen, Distinguished Professor of Choral Music at UCLA’s Herb Alpert School of Music.

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At the age of 80, after a sixty-year career of conducting and teaching, Donald was retiring. Yes, that white-haired gentleman on the podium summoning up a veritable tempest of musical joy was less a Prospero thinking of lazy afternoons in a more temperate clime, than a newly liberated Ariel, ready to take on the world with mischief to spare.

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There are those people who feed on life and give nothing in return, who drain the colors from the canvas. Then there are those who accept nothing as enough, who believe everything is possible, and who view adversity as opportunity. Opportunity to strive, to create, to enrich, to find the Yes buried within the No. Beethoven was one such man, and Donald Neuen is another. When these two finally meet, it won’t be over sedate scones and Earl Grey at the Elysian Tea Rooms. There will be no talk of what was and what could have been. No Falstaffian reminiscences of “the days we have seen”. More likely the conversation will go something like this:

Neuen: “So, been working on anything new?”

Beethoven: “Yes. But it’s really difficult. I doubt you can find a choir capable of singing it.”

Neuen: “Then I’ll make one.” (Turning to the hovering angels): “Now who among you can actually sing?”

The 13-year-old Beethoven

The 13-year-old Beethoven

It seems as if Beethoven, like music, has always been a part of my life. As a toddler I figured out how to operate my father’s old portable record-player with precocious alacrity, and, along with Holst’s Planets and Tchaikovsky’s Nutcracker, Beethoven’s symphonies were rarely far from the spinning turntable. The hammer blows of the 5th, the frenzied dance of the 7th, and the soaring finale of the 9th were the soundtrack to my precocity. The Sixth Symphony, nicknamed the Pastoral for its musical depiction of walks in the countryside, bucolic peasant scenes and thunderstorms, remains my go-to piece for spiritual solace. It’s music that puts what really matters in life into perspective, that says: “This is you, and this is your place in the cosmos. Treasure the world around you and it will bring you enlightenment.”

It’s a truth we still find hard to live by.

Beethoven was at odds with the world, and his music reflects his Promethean spirit with a naked, and sometimes painful, honesty. He accepts nothing, wants everything, and rails against the gods when he has to settle for something less than the ideal – which is most of the time. His deafness, the cruelest of cruel jokes to ever befall a composer, would have felled most musicians; instead it emboldened Beethoven. When you can no longer hear the sounds of this present world, you imagine the sonorities of worlds to come. And so it was with Beethoven: his music grasps for a future he desperately wants not only to hear, but also to live. His notebooks testify to his struggle to find the language – the notes – to encapsulate those sounds, that vision.

One of Beethoven's sketchbooks, containing material for the Missa Solemnis. This was once owned by Mendelssohn.

One of Beethoven’s sketchbooks, containing material for the Missa Solemnis. This was once owned by Mendelssohn.

Musical ideas erupt messily from the pages, some scratched out in a fervor of second and third thoughts. The masterpieces in his portfolio are legion, spread across all musical genres of the time. They articulate a humanist, inclusive, utopian vision, brought about as much through music as through political and ideological reformation. This vision finds its fullest public expression in the end of Fidelio and the Ode to Joy from the 9th Symphony. The more interior reckoning is to be found in the late piano sonatas and quartets.

Beethoven at work

Beethoven at work

By some miracle of happenstance (or the benign influence of a god who loves music), Beethoven lived at the precise moment in time when musical language could, for the first time, sufficiently encompass his Dionysian impulses within an Apollonian frame. This was during the maturation of the so-called Classical period, articulated and embodied by Haydn and Mozart. Harmonic language found itself at a point of complete equilibrium between concord and discord. Tonality was held in balance, yet to succumb to the unraveling by the late Romantics that resulted in dodecaphony at the turn of the 19th century: the equalizing of all harmonic impulses, be they concordant or discordant – the democratizing of dissonance. As music plunged towards the maelstrom of the 20th century it moved towards a liberation from any sense of a tonal center in the music of Wagner, Richard Strauss, and early Schoenberg. From here it was but a small step to the convulsions of Stravinsky, Bartok and the birth of serialism.

In the Classical period (roughly 1730 to 1820), rhythm had become sufficiently liberated to both disrupt and also assert order.  Beethoven was too wayward and forward-thinking a spirit for the more formal structures of the Baroque, and in the 20th century the freedom to do anything tonally and rhythmically would have overly diluted the tension between disruption and resolution (or, perhaps more accurately, containment) that drives his musical dialectic.

Beethoven by Hornemann, 1803

Beethoven by Hornemann, 1803

Sonata form – the principal means by which musical material was organized at the time – was the cornerstone of the Classical era in which he composed. It had just enough elasticity to allow him to push his ideas to the limit without breaking the vessel. You see hear this over and over again, but never more tellingly so than in the famous passage in the development section of the Eroica Symphony’s first movement, where a series of hammer blows in the form of dissonant chords threatens to upend the entire harmonic and rhythmic structure. But just when you think the musical vessel is going to buckle and break completely, Beethoven pulls back so that the music’s natural order can reassert itself. (Almost a century later, Stravinsky, working with the same kind of hammer-blow motif in The Rite of Spring, is only too happy to splinter the vessel asunder and ride headlong into the whirlwind.)

Soviet-era stamp, 1970

Soviet-era stamp, 1970

These kinds of musicological preoccupations take on a different hue when one actually has to perform Beethoven’s music. In his own lifetime, the impulse behind the music – its deeper intent and modes of expression – reached beyond the notes written on the page to a degree that musicians and listeners found difficult to wrap their heads around. Even the instruments themselves seemed inadequate. The so-called Hammerklavier­ sonata for solo piano, which did, literally, hammer in a manner designed to cripple, it seemed, the instrument’s mechanism, was merely the first volley of an all-out assault on the piano’s physical capabilities. Beethoven’s music was a major factor in the instrument’s evolution away from Haydn’s polite parlor-room fortepiano into the über-instrument of today: the 9-foot long Steinway Grand used in today’s concert halls.

Controversy still rages over the precise meanings of Beethoven’s seemingly contradictory (and often willfully impossible-to-play) metronome markings (the score’s indication of what speed the music should be taken at). These issues have still not been entirely resolved by the most recent, scholarly editions of his works by Jonathan del Mar, as witness the frequency with which his recommendations are ignored by conductors. (Though this might be more accounted for by the extent to which interpreters, especially conductors, feel a right – indeed a need – to appropriate Beethoven for their own aesthetic agendas, and damn the textual niceties. Two recent examples of this inclination are Mikhael Pletnev and Christian Thielemann.)

Autograph score for Mass in C

Autograph score for the Mass in C

Given the technical and interpretive challenges of Beethoven’s music, it was hardly surprising that at our first choir rehearsal for our concert, Professor Neuen began by addressing two core issues for anyone planning to sing Beethoven: vocal production and rhythm.

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He talked about how Beethoven demanded an intensity of singing that, if one did not employ good technique, could literally tear one’s vocal chords. To avoid this he talked about how one must project more from one’s forehead than from one’s chest, and he carefully walked us through the way to achieve this (complete with diagrams). Allied to this was an idea we had to firmly implant in our brains of sending forth our voices from our bodies in a cone – an almost literal, physical projection of sound. (This also came with a diagram). By the time of our concert, seven weeks later, that “cone of sound” would be hitting the audience like a physical force, a literal “wall of sound”, even when we were singing pianissimo.

At some point in the midst of the rehearsal process, when our singing was occasionally lacking a certain focus and power, Professor Neuen pulled out a book about the great choral conductor, Robert Shaw, with whom he had trained and worked, and whose approach to choir training he had absorbed and emulated.

Robert Shaw

Robert Shaw

He read us a quote from Shaw:

“People, the flesh must not be weak. Beethoven is not precious, he’s prodigal as hell. He tramples all over nicety. He’s ugly, heroic; he roars, he lusts after beauty, he rages after nobility. Be ye not temperate. Enter ye into his courts on horseback.”

This came from a letter Shaw had written to his choir, the New York Collegiate Chorale, as they prepared for a performance of Beethoven’s 9th under the baton of the legendary maestro, Arturo Toscanini. The letter continued:

“Which, being freely translated, means: Get your backs and your bellies into it. You can’t sing Beethoven from the neck up – you’ll bleed. Quit sitting back on your soft little laurels. Get your feet on the floor. Get elbow room. Spread your back. Keep your neck decently erect and your throat open. Don’t lead with your chin. And give with the part of your gut that ties onto your ribs. Make your body do part of the work. And, oh yes! Get lots of sleep. Read lots of good books. Drink lots of milk and orange juice. Think good clean thoughts. Love your neighbor – and Allah be praised.”

Robert Shaw conducting the New York Collegiat Chorale at opening of United Nations Building in 1953

Robert Shaw conducting the New York Collegiate Chorale at opening of United Nations Building in 1953

This advice Donald recommended we follow too. I swear a look of quiet despair passed across the faces of those students inclined to dedicate the end of the school year to more Dionysian pursuits. Yet adhere to Donald’s dictum they needs must do: it was already clear he inspired fierce loyalty, devotion and love in his singers. This was all the more remarkable considering the majority of the choir consisted of non-music majors. The keg parties would have to wait.

As to rhythm, this is at the core of Beethovenian style. His music’s characteristic cut-and-thrust is achieved, in part, by accenting the offbeats and upbeats which, traditionally in music up to and including this period, are played more lightly, leading into the heavier downbeats. This off-the-beat accenting is so counter-intuitive, going against pretty much all the early training musicians receive, that Professor Neuen was reminding us of it right up to the dress rehearsal. With the orchestra in full flight, those lazy upbeats (KYR-i-E instead of the required Kyr-I-e) would cause him to yell “BEETHOVEN!!!!” and, somewhat shamefaced, we would make the necessary adjustment.

Neuen in rehearsal

Thrilling as the concert was (and it was thrilling, like riding a bucking bronco on a high-wire over the Grand Canyon), it was the many weeks of rehearsal leading up to it that I treasure. Attending rehearsals was like embarking on a great journey with a companion from whom one never ceases learning. I had forgotten (as so many of us do once we leave school) what it is like to embark on a course of study in the company of a great teacher and inspirer of men. There is a sense of moving towards a place of enlightenment that the so-called “real world” of jobs, marriage and kids can seem to deliberately obfuscate.

Arrayed around Professor Neuen in rising semi-circular tiers, like the audience before the actors in a Greek amphitheatre, we were alternately coaxed, lulled, harangued, goaded, bullied, inspired, shamed and seduced into action by the kind of leadership that wins Superbowls and great battles. In fact, Neuen has been compared to the legendary coach of UCLA basketball, John Wooden, known as much for inspiring the hearts and minds of generations of student players as for capturing trophies. Neuen had, in fact, once contemplated a career in sports, that is until he became involved in choral training. Once he caught the choir bug there was no turning back.

Donald Neuen at a recording session, 1987

Donald Neuen (r.) at a recording session, 1987

 

But, as I rapidly learned, the strictly musical preparation that took place on Monday and Wednesday afternoons was only one part of the “Neuen experience”. In the midst of wrestling with half and quarter notes, recalcitrant tuning, listless rhythms and all the other ailments that afflict even the nimblest of choirs, the Professor would put down his baton, settle into the back of his stool and invite us to share a “sit-back” moment. There would follow a reminiscence, or an anecdote, or an observation of musical methodology or history, that would, first of all, be informative and helpful to what you were trying to achieve in the rehearsal room. But then you would start to realize there were other applications for these bon mots. They were little lessons to make you feel better about how your day was going, where your life was at the moment, and where it might go in the future. All those petty preoccupations and obsessions from outside the rehearsal room, the general life-malaise with which we so easily fill our daily internal monologue, would suddenly all reveal themselves as the utterly disposable bric-a-brac they truly were. From there it was but a small step to putting them all into a little box, placing them in a drawer, closing and locking it with the thought that you might revisit at a later date, but actually you also might not need to. Then it was “Back to Beethoven”!

 

The concert hall at Eisenstadt where the Mass in C had its first performance

The concert hall at Eisenstadt where the Mass in C had its less-than-triumphant first performance. Prince Esterhazy II, who had commissioned the work, was none too happy, declaring: “But Beethoven, what have you done here?”

 

The Neuen “sit-back” moments, I learned, were famous, and rightly so. They were the lobs of a great champion on the tennis-court of the day’s preoccupations, bringing with them enlightenment and inspiration. They slowed down life’s driving forehands, jabs and seemingly insurmountable volleys and overheads. They changed the rhythm of the game, so that the defensive back foot play reset the balance of power. From love-forty down one could find oneself serving for the match.

And so, finally, and all too quickly, came the performance itself: the pomp and splendor of some 350 performers arrayed across the stage of one of the world’s great concert halls, UCLA’s Royce Hall.

 

UCLA Royce Hall at night

It was here that the Decca recording label made many of its most celebrated recordings of the 60s and 70s, capturing the legendary acoustic and the sounds of the Los Angeles Philharmonic with its now classic array of “Decca tree” microphones.

 

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Royce Hall from Sunset Boulevard, 1924

Royce Hall (left) from Sunset Boulevard, 1924

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Led by Dr. Rebecca Lord, who gained her PhD at UCLA under Neuen’s tutelage, and who had then become an Associate Professor in the Choral Department, there were speeches, tears – and even bugle volleys courtesy of fellow faculty member, Jens Lindemann, of the Canadian Brass.

 

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(l. to. r) Jens Lindemann, CEA Vice President Stephanie Sybert, Dr. Rebecca Lord, Professor Donald Neuen, CEA President Kanwal Sumnani, and SPARK Coordinator Elizabeth Seger

 

Current and former pupils and singers who had been touched by the Neuen magic flew in from around the country. The house was packed for a concert whose costs were met by an online campaign organized by the students themselves.

 

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Dr. Rebecca Lord and Professor Neuen

 

But finally, ineffably, after the tributes and the farewells, there was the most important thing of all —

— the music.

The Agnus Dei from the autograph score to the Mass in C

The Agnus Dei from the autograph score to the Mass in C

 

Music by Beethoven!

 

Portrait by Joseph Karl Stieler, 1820

Portrait by Joseph Karl Stieler, 1820

 

As Professor Neuen strode towards the podium one last time for the Mass, he shook his fists like a great baseball hitter heading out to the plate in extra innings, bases loaded. Everything to win, everything to lose. He mouthed only one word: Beethoven! And we all knew exactly what work had to be done.

 

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To participate in a great performance, led by a great conductor, is to reach so far beyond oneself that the process has the quality of a dream. Or, sometimes, a delirium. An articulate, controlled delirium, but a delirium nonetheless.

The notes are learned, everything is practiced and rehearsed to the nth degree, yet in the moment of performance the process is a both a frenzy and a becalming. Our minds are necessarily racing, because all music-making at this level is primarily about thinking hard and fast, always one step ahead of the score.

Our thoughts are driving our bodies to make the required sounds with constant changes in pitch, rhythm and expression. In the process we seem to become almost autonomous, divorced from ourselves, bound up into a collective, but also singular, act of creation.

The conductor’s baton, his eyes, his will, gather us up into a single thought. And in that thought, that moment, it seems as if the notes were never actually written down by the composer, the music never printed, never passed around, never scrutinized, studied, dissected and re-assembled, never worried over ad infinitum in the rehearsal room. The notes, the music, seem simply to emerge spontaneously in the here and now, drawn up from some distant consciousness we call Beethoven, to be hurled into the cosmos like the fire Prometheus stole from the gods.

With Beethoven one always seems to come back to the prodigious Prometheus; the composer even wrote music for a ballet about the mythical figure.

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What, asks Man of his gods, is it for, this music? What does it mean?

Why, the gods answer, do you need to ask?

The music, and the making of the music, is its own answer.

And so, the orchestra plays, the soloists and choristers sing: “a lifetime”, as T.S.Eliot writes in Burnt Norton, “burning in every moment”.

 

Professor Neil Stobart, soloist in the Choral Fantasy

Professor Neil Stulberg, soloist in the Choral Fantasy

 

The 80-year-old professor who has given his ideas, his passion and his grace to his students, friends, colleagues, family and the family of men and women who have shared his life’s journey; who has given his life to music, and the idea of music – that professor stands before us one final time on the stage. He invites us, through Beethoven, to reach out into the void, and pluck forth meaning.

 

Beethoven chorale men

Soloists Sarah Grandpre, Sarah Anderson, Daniel Suk, and Michael Dean

Soloists Sarah Grandpre, Sarah Anderson, Daniel Suk, and Michael Dean

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As the conductor and choir trainer par excellence Robert Shaw once wrote:

“The Arts have a chance to become what the history of man has shown that they should be – the guide and impetus to human understanding, individual integrity, and the common good. They are not an opiate, an avoidance, or a barrier, but a unifying spirit and labor.

 

Max Klinger working on his sculpture of Beethoven

Max Klinger working on his sculpture of Beethoven

 

“The Arts are not simply skills: their concern is the intellectual, ethical and spiritual maturity of human life.
 And in a time when religious and political institutions
may lose their visions of human dignity,
they are the custodians of those values
which most worthily define humanity,
 which most sensitively define divinity
and, in fact, may prove to be 
the only workable Program of Conservation 
for the human race on the planet.”

 

Beethoven by Max Klinger, 1902

Beethoven by Max Klinger, 1902

 

And so, in Royce Hall, this extraordinary music that a deaf man wrestled into existence from the void, lives again – in our hearts and voices. In the process something deeper lives too. The Soul of Man.

 

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The teacher and leader is young again —

— and we are old.

It is a complete and perfect metamorphosis, both within – and outside of – time.

As the music sounds, we are all, performers and listeners alike, translated –

— and transfigured.

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BEETHOVEN CHORALE ONSTAGE AT ROYCE HALL

You can watch the complete concert here:

Beethoven, by Andy Warhol, 1987

Beethoven, by Andy Warhol, 1987

JAMES EARL JONES REMEMBERS ( Filming “THE COMEDIANS” with Richard Burton, Elizabeth Taylor, and Alec Guinness )

The Comedians - table scene

Long before he provided the ominous tones for Darth Vader and created the most iconic-sounding villain in screen history, James Earl Jones made his mark in a number of major productions of stage and screen. It was his role in Jean Genet’s groundbreaking play The Blacks, first staged in New York in 1961, and running for a record-breaking 1408 performances, that led to one of his most memorable early film experiences.

James Earl Jones and Cicely Tyson in The Blacks

James Earl Jones and Cicely Tyson in The Blacks

Polish poster for The Comedians

Polish poster for The Comedians

Peter Glenville

Peter Glenville

Peter Glenville, a leading British director of the time who had closely collaborated with Graham Greene and Tennessee Williams, was looking for a number of black actors to take roles in his forthcoming film of Greene’s The Comedians, set amidst the turmoil of ‘Papa Doc’ Duvalier’s Haiti.  Going to The Blacks, which was one of the top off-Broadway hits of the decade, Glenville was presented with an embarrassment of acting riches.  Jones was not the only one to be cast in the film as a result of his performance in the play: joining him were Cicely Tyson, Zakes Mokae, and Roscoe Lee Brown.  Also in the film was a young Gloria Foster, who later made a mark as the Oracle in the first two Matrix pictures.

Jones and Zakes Macae

The-Comedians James Earl Jones

For Jones, working on The Comedians was memorable both on, and off, screen. For rarely can a young actor have found himself spending time with such a luminous A-list cast: Elizabeth Taylor, Richard Burton, Alec Guinness, Peter Ustinov, not to mention the legendary star of silent pictures, Lillian Gish.

Peter Glenville with the cast of The Comedians

Peter Glenville (c., standing) with the cast of The Comedians

A few years ago I produced an oral history of the life and work of Peter Glenville, and James Earl Jones kindly agreed to share his reminiscences with Susan Loewenberg, Producing Director of L.A. TheatreWorks, who commissioned the history on behalf of the Peter Glenville Foundation.

Peter Glenville directing Ustinov and Taylor

Peter Glenville directing Ustinov and Taylor

The segment about The Comedians was my favorite, enlivened by Jones’s commentary, his extraordinary presence, and that voice. (In a technical sidebar, that voice was so resonant with bass frequencies that the engineer had quite some trouble recording it without distortion).

Jones and Burton

Now you can enjoy his story too……

Narrator: Martin Jarvis.  Voice of Peter Glenville: Simon Templeman.

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HAPPY 450th, BILL! ( How I Celebrated Shakespeare’s Birthday with Sir Ian McKellen )

Acting Shakespeare - France

We’ve all seen them – those fun pictures of fellow knights of the British stage, Sir Ian McKellen (aka Gandalf and X-Men maverick Magneto) and Sir Patrick Stewart (aka Jean-Luc Picard of the Starship Enterprise and X-Men leader Professor Xavier) hamming it up before the Super Bowl —

McKellen - Stewart Super Bowl

— and living it up, in and around the Big Apple.

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Patrick Stewart Ian McKellen Empire State

McKellen Steward in bar

It’s the unlikeliest bromance of the moment. It has grown out of this power duo’s Broadway performances of a hard-core theatrical double-hitter: Samuel Beckett’s Waiting for Godot and Harold Pinter’s No Man’s Land.

Stewart - McKellen Godot w:hats

 

Stewart McKellen No Man's Land

The shows have garnered rave reviews. No surprise here. Several of my most memorable theatre-going experiences have been courtesy of these two theatrical lions. In the RSC’s staging of Shakespeare’s Henry IV, directed by Trevor Nunn at the Barbican in the 1980s, Patrick Stewart was an unforgettable King. The scene where he realizes, on his deathbed, that the son he thought was a wastrel is actually going to be a great monarch (Henry V), and the two are finally reconciled, was indelibly moving.

Patrick Stewart, Gerard Murphy Henry IV

Ian McKellen terrified in a studio-sized, in-the-round production of Macbeth (with Judi Dench) that has achieved a well-deserved legendary status (it was also directed by Trevor Nunn).

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Ian McKellen Macbeth with weird sisters

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Some years later, in a Peter Hall production of Coriolanus at the National Theater, McKellen brought that difficult study in hubris to alarming light. I doubt I will ever see that tricky play done better.

McKellen Coriolanus fight

Like Patrick Stewart, I had the good fortune to work and hang out with Ian, in Boston and New York, though at the end of an earlier era, the 80s. And it was just as much fun. We may not have gone to Coney Island…..

mckellenstewart Coney Island

…… but we did have the surreal experience of sitting in a wharf-side restaurant near Wall Street as the stock market crashed. As we sipped coffee and wrote our script, even the air was jittery.

Acting Shakespeare - Broadhurst Theatre

I had persuaded Ian to work with me to adapt his one-man show, Acting Shakespeare (which he was touring around the States), into a 2-hour special for National Public Radio, to be produced under the auspices of my radio station, WBUR in Boston. The program would tell the story of Shakespeare’s life and examine the lasting appeal of the plays, through autobiographical nuggets, commentary and performances by Ian, and a range of interviews, historic recordings and music. It would then extend into a discussion of Shakespearean performance in America. It was somewhat unusual for a radio station in America at this time, even one in the NPR network, to undertake an enterprise of this nature. Radio drama of any kind, let alone something as ostensibly highbrow as Shakespeare, was hard to find on the dial. But our station manager, Jane Christo, thought unconventionally, and was a big fan of Ian’s work. It did not hurt that we were able to attract substantial corporate underwriting for the project too.

The program began, as had Ian’s one-man show, in really the only way it could, with the opening of Henry V, in which the audience members are exhorted by the Chorus to enter the world of the play through the full exercise of their imagination. Is there any finer call to arms for the theatregoer?

During the course of the program we interviewed a range of people who studied and performed the plays in America.

Joseph Papp in front of posters for his many legendary productions

Joseph Papp in front of posters for some of his many legendary productions

Joseph Papp, the iconoclastic director and impresario who had done so much to promote quality non-profit theatre in New York, entertained with his impression of Al Pacino doing Richard III, and his often irreverent but unique insights gleaned from a lifetime of producing the plays.

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Hamlet at the Delacorte Public Theatre (1964)

 

F. Murray Abraham AMND coverF. Murray Abraham illuminated the actor’s point of view.  He talked about why he loves performing the plays, and how young audience members were in thrall to a production of A Midsummer Night’s Dream in which he was starring as Bottom.

 

 

 

F. Murray Abraham as Shylock, Melissa Miller as Portia, in The Merchant of Venice

F. Murray Abraham as Shylock in The Merchant of Venice, with Melissa Miller as Jessica

 

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garber Shakespeare after all

 

 

garber with dogs

 

 

Professor Marjorie Garber of Harvard University, a leading gender studies and Shakespeare scholar, brought to life many historical, academic and philosophical issues connected to the plays and their author (not least the fascinating question of whether Shakespeare was really an actor from Stratford-upon-Avon, or someone else altogether).

 

 

Edward de Vere, one of the leading candidates for being "the real Shakespeare". The film Anonymous dramatized his story.

Edward de Vere, one of the leading candidates for being “the real Shakespeare”. The film Anonymous dramatized his story.

We also recorded a class of school kids who studied with the pioneering New England theatre company, Shakespeare and Company.

A senior figure with that troupe, Kristin Linklater, had coached Ian in speech and diction early in his career at the Royal Shakespeare Company, and she discussed the ways in which American performances of Shakespeare were often preferable to those by British actors.

Kristin Linklater leading a class

Kristin Linklater leading a class

The program also looked at the ways in which Shakespeare has permeated the popular culture, from West Side Story to the pop songs of Sting. Interviewing Sting resulted in one of my more memorable encounters with a celebrity.

The former lead singer with The Police was doing a photo shoot in New York, and suggested I come to the studio and talk to him during a break. I remember walking into the lobby of an unassuming building in midtown, only to be confronted by 15-foot-high walls covered, floor to ceiling, with cover shots from Vogue and other iconic fashion magazines. I suddenly realized this was no ordinary photo shoot.

I was led to Sting’s dressing-room. On the way I glimpsed the rock star, naked save for his Calvin Klein briefs, posing for an effervescent, wiry photographer who spoke in a flurry of Italian-English. I did not know it at the time, but this was one of the legends of the fashion scene, Francesco Scavullo. When I later told my girlfriend (who was part Italian and a big follower of the fashion-world) where I’d been, she admonished me, half in American, half in Italian, for a) not knowing how fortunate I had been to be admitted into the presence of this legend (Scavullo, not Sting), and b) not taking her with me. When I then further revealed that throughout the interview Sting remained clad only in his form-fitting Calvin Kleins, I received a sharp jab of rebuke on my arm. Clearly I had seriously messed up for not allowing her the opportunity to see the rock star au naturel. It took a while for me to emerge from the doghouse. (And, ladies, the answer to your question concerning Mr. Gordon Sumner’s attributes is, “Yes, he is.”)

Francesco Scavullo with his photo of Sting

Francesco Scavullo with his iconic photo of Sting

One of the most memorable evenings of my sojourn in New York now takes on the hue, in retrospect, of an historical moment in theatre lore. Ian and I were laboring intently on the script, preparing to enter the studios of WNYC to lay down his tracks before he resumed his tour. We were under the gun, but nevertheless one day he declared that we were going to take a break that evening and go to the theatre.

“You wouldn’t mind doing that, would you dear boy? I’ve been told it’s a play we absolutely must go to,” he said as he peered over his half-moon spectacles. “Absolutely” is one of his signature words. His eyes betrayed that twinkle of mischief which the world has come to love in his portrayal of Gandalf. There is a part of Ian’s psyche that remains thoroughly that of an errant school-boy, “creeping unwillingly to school”. It is one of the reasons he is a great actor: he likes to play. On this occasion he was clearly in the possession of privileged knowledge he was not about to share, but he was relishing what my reaction would be when I discovered what it was.

Rehearsing Richard II (with Mark Strong)

Rehearsing Richard III (with Mark Strong)

Thus we found ourselves heading off to Sardi’s for dinner, New York’s most famous watering hole for the Broadway set. Of course, everyone wanted to come over to our table and pay their respects. Ian held court to the manner born, garrulous and friendly, but always ready with a biting quip. The possessor of a mind every bit as lean and quick as his performances, Mr. McKellen does not suffer fools, or the lazy opinion, gladly. He’s call you on your BS. You’ve seen him do this on the chat shows, where he has become a popular guest with hosts and audiences alike.

King Lear

King Lear

We walked into the theatre and made our way to our seats at the front and center of the stalls. A murmur of excitement flowed through the audience – at this time McKellen was already a huge star in the theatrical firmament, even if he had yet to achieve the broader celebrity status that came with The Lord of the Rings and X-Men. He turned and shook people’s hands, and greeted old friends. Finally we settled into our seats and the play began.

An actor came out, thin with long black hair falling about his coiled shoulders.

John Malkovich in Burn This

From the second he took the stage I was riveted. His energy and intensity were extraordinary, and it was the kind of showboating role that makes a star. Now I could better imagine the galvanizing effect of Brando’s legendary performance in A Streetcar called Desire. I knew why Ian had insisted we come, and I felt like I was watching theatre history being made. After the show we went backstage and Ian introduced himself. I just stood by and watched, in awe. What a moment!

Walking home Ian commented: “You don’t see that every day – a star is born”, or words to that effect. True enough.

The actor’s name was John Malkovich, and the play was Burn This by Lanford Wilson. Also in the cast was the young Joan Allen, giving an equally powerful performance for which she won a Tony award. Amazingly, Malkovich only received a Drama Desk nomination. He was, as they say, robbed. But his stellar career was officially launched.

John Malkovich and Joan Allen in Burn This

John Malkovich and Joan Allen in Burn This

A few days later Ian and I entered what were then the newly refurbished studios of WNYC to record his scenes and linking text. As with the writing process, Ian was completely collaborative and openly solicited my advice on his acting and presentation. It was a somewhat daunting experience for a comparative neophyte to be asked to guide one of the greatest actors of his generation, but Ian was intent on scaling back the pitch and scale of his performances so that they worked for radio. His conversational manner as host occasionally veered towards being more “BBC-like” than one normally heard on American radio, not surprisingly, but that hardly seemed inappropriate in a program about Shakespeare hosted by an Englishman.

Rehearsing Macbeth with director Trevor Nunn and Judi Dench

Rehearsing Macbeth with director Trevor Nunn and Judi Dench

We wanted his commentary to feel comfortable and unintimidating, like a fireside chat, with hot tea and scones to hand. When it came to the play extracts he completely understood how one could go small and intense, rather than big and theatrical, honing in on the psychological thrust of the speeches. Radio is wonderful for this kind of “interior” approach to drama, and it also allows an actor to mold and color the language in a way that the demands of projection in a large theatrical space often preclude. Only occasionally did we shift into a proscenium, or to be more accurate, thrust-stage mode, when a scene like the opening of Henry V would be aurally placed within a theatre setting through the use of sound effects and artificially added reverberation. I particularly enjoyed doing Prospero’s Farewell from The Tempest (opening Part 2 of the program). Ian brought out all the lyricism and melancholy in the speech, and I backed it with the Norwegian composer Arne Nordheim’s music, drawn from his ballet of the play. It lent just enough of an otherworldly, eerie quality to those extraordinary words in which the playwright expressed his intention to retire from the stage.

"I'll drown my book...." McKellen as Prospero at the opening of the London Paralympics

“I’ll drown my book….” McKellen as Prospero at the opening of the London Paralympics

In another standout sequence, Ian plays a pivotal scene from Hamlet, involving the arrival of the traveling players at Elsinore, Hamlet’s family castle, taking all the roles. The listener is able to go right inside Hamlet’s head as he launches into the soliloquy “Oh what a rogue and peasant slave am I”.

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To get this kind of “interior” quality of sound one has to speak as close to the microphone as possible. In this way one removes all the room resonance, so the voice is completely isolated. The problem is that in the process of doing this, every little mouth noise, lip smack, pop and breath is picked up by the microphone, and can distort the recording. We were working in the days before digital editing and mixing, so the only editing we could do to remove unwanted pops and distortions involved actually cutting the tape itself. Tricky stuff, and especially so when there is such a wide dynamic range as there is here. When Hamlet explodes with frustration in the middle of the speech, McKellen had to back off the microphone and the engineer rode levels so he would not distort. Listen to the completed scene (contained in the following clip). I think you will agree that it is a masterly piece of microphone technique allied to brilliant acting.

Ian McKellen as Hamlet (1971)

Ian McKellen as Hamlet (1971)

Once the sessions in New York were completed, Ian disappeared for the rest of his tour. (While he was on the West Coast he interviewed the Craig Noel, who had run the Old Globe Theatre in San Diego for decades).

Craig Noel in 1980

Craig Noel in 1980

I was left with a mountain of recorded material to whittle down to two 1-hour shows. I disappeared into the editing room with my indefatigable engineer, David Greene, and his trusty razor-blade.

The author (l.) and engineer David Greene (r.)

The author (l.) and engineer David Greene (r.)

One of the interesting things that happens when one works on an audio project like this is one comes to learn in intimate detail every tic and inflection of someone’s voice, their particular habits: the way breaths are taken, the way certain combinations of consonants and vowels can sound out oddly, and how even well-trained voices can reveal the layers of their background. McKellen grew up in the north of England and had a strong regional accent as a young man, but in order to pursue a career in theatre at that time (the late 50s and early 60s) it was mandatory that he not have anything other than a proper Queen’s English kind of voice. He rigorously trained away the accent of his boyhood, but as David and I labored over the tapes, those characteristic northern sounds would occasionally reveal themselves within the words. Fascinating. There were also certain, shall we say, bad habits or tics that even the most well-trained voice will fall into, and I will admit to certain moments of levity when we came across these McKellen aural signatures. Put it down to the punchiness that every editing bay plays host to.

Rehearsing Coriolanus in Greece, with director Peter Hall

Taking Coriolanus on tour in Greece, with director Peter Hall

What many people do not realize is how much of what they hear on the radio is not people speaking off the cuff. In fact, the reporters, interviewees, and commentators on fully produced programs are mostly edited before the shows hit the air to remove unwanted mistakes, pauses etc. (except when it is a live news show, like All Things Considered, though here it is mostly only the hosts who are live; the rest are mostly live on tape). In the days before digital, this kind of editing was done with a razor blade, cutting the master tape. To be a really good editor is a considerable art, with little room for error – you can only reassemble minute pieces of cut tape so many times. My editor on this show, David Greene, was one of the best editors I have ever worked with. Every session was a master class in how to cut tape. It wasn’t just a question of editing interviews for content: David would clean up odd little mouth noises and tighten the rhythmic flow of speech. Here you have to be so careful, because if you overdo it to get rid of redundant “ers” and “ums”, you can disrupt the speaker’s natural flow and rhythm of speech, and the end result can sound choppy.

King Lear

King Lear

Finally, with all the elements in place, we mixed the show. Now you might think this would be a hi-tech affair, with multi-track tape and a state-of-the-art mixing console. Far from it. At the time WBUR had yet to gain the luxurious facilities it currently enjoys. We only had several ¼ inch decks, and Betamax video decks for digital playback.  The mix was all coordinated manually, with David and myself literally leaping from one source to another as different sound elements were cued in. It may have been crude, but it worked.

As Richard II (1968)

As Richard II (1968)

With a certain level of anxiety I sent Ian the finished program for approval. He had a few salient notes, but declared his satisfaction, and the program aired on April 19th, 1988, in time for Shakespeare’s birthday on the 23rd, on over a hundred stations across the land. The response was so overwhelmingly positive that NPR ran it again the following year on even more stations.

King Lear, with Sylvester McCoy (aka Doctor Who) as the Fool

King Lear, with Sylvester McCoy (aka Doctor Who 1987-1989) as the Fool

An interesting coda to this whole experience came a few months later. Ian made worldwide headlines by publicly coming out. He was one of the first celebrities in the acting world to openly declare his homosexuality, and it was an act of considerable bravery at that time. It turned out that he had been seriously mulling over whether to do so or not throughout his American tour, when we had been working on the program. In San Francisco he had been staying with the writer Armistead Maupin (whose Tales of the City was a landmark work in chronicling the impact of the AIDS crisis on the gay community), and this was when he finally reached his decision. At the time, his coming out was partly driven by a desire to protest a new law discriminating against homosexuality being promoted by Margaret Thatcher’s government. McKellen has remained active in support of LGBT rights, recently adding his signature to those of 27 Nobel Laureates who wrote an open letter to Vladimir Putin to protest Russia’s policies of active discrimination against, and criminalization of, this community.

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We had chosen to end the program with a speech from Henry VIII, a play that scholars believe, while attributed to Shakespeare in the First Folio, was actually written in collaboration with his contemporary, John Fletcher. Sir Thomas More confronts a mob of rioters who are protesting against the flood of immigrants entering London. In retrospect I can see how More’s condemnation of discrimination and intolerance would have resonated with Ian as he pondered his decision to come out.

                                      Would you be pleased

To find a nation of such barbarous temper,

That, breaking out in hideous violence,

Would not afford you an abode on earth,

Whet their detested knives against your throats,

Spurn you like dogs, and like as if that God

Owed not nor made not you, nor that the claimants

Were not all appropriate to your comforts,

But chartered unto them, what would you think

To be thus used? This is the strangers’ case;

And this your mountanish inhumanity.

NPG 1; William Shakespeare attributed to John Taylor

It was the perfect humanist note on which to end this personal look at the greatest of all literary humanists, granted by one of our foremost practitioners of the actor’s art. Working on this show was one of the singular delights of my radio career.

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You can listen to the complete broadcast of Speaking for Everyman: Ian McKellen Celebrates Shakespeare’s Birthday here:

PART 1

Ian McKellen b&w

PART 2

In Christopher Marlowe's Dr. Faustus (1974)

In Christopher Marlowe’s Doctor Faustus (1974)

Here is a video of Ian analyzing Macbeth’s “Tomorrow and Tomorrow” speech.

 

AND, on a lighter note, for Stewart/McKellen fans this is essential viewing:

MY DAD ON EVEREST AND BEYOND ( OF GOD AND SCIENCE )

Everest top

Where do gods live?

The people of the Himalayas believe the gods live in the high mountains, and that summits are sacred places.  Everest was once known as Chomolungma, meaning “Goddess Mother of Mountains”.  After the Chinese invaded Tibet their authorities decreed that the mountain would again be known by that name, rather than Everest (named after the surveyor who had first mapped the region for the British).  Before leaving the summit in 1953, Tenzing buried some sweets and biscuits as an offering to the Buddhist gods of the mountain.

In 1951, as my father and other members of the Reconnaissance expedition gazed upon the southern slopes of Mt. Everest, did they wonder what gods they might encounter here?

Everest - into Western Cwm

As they peered into the lower reaches of the vast Western Cwm and up towards the towering Lhotse face, it was clear that whatever god or gods protected the mountain were going to make them work hard for the privilege of entering its Elysian snow fields.  Mountaineers entering these high realms have been known to get a strong case of religion.

Looking up the Western Cwm towards the Lhotse face, gateway to the summit.

Looking up the Western Cwm towards the Lhotse face, gateway to the summit.

Not so my father.  He was inclined towards practical thinking and was already well into his medical training when he first figured out a potential southern route to the summit in the basement of the Royal Geographical Society in 1951.   The son of middle class expatriates living in Malaya, he had attended the public school of Marlborough, and therefore shared something of the gentleman’s club background of the British climbing establishment.  However, he admitted to none of the sense of entitlement and rejection of professionalism that had plagued British mountaineering in particular, and British athletics in general, for years.  (This issue was tellingly investigated in the Oscar-winning film about the British runners at the 1924 Olympic games, Chariots of Fire).  The Alpine Club, home to generations of British climbers, was the Club of Clubs when it came to extolling the virtues of gung-ho amateurism over targeted training and systematic preparation.

My father was also well acquainted with Everest history, and the long series of British failures on the mountain.  Already well into his training for an eventual career as a surgeon, he thought scientifically and methodically, and was determined to make sure none of the avoidable mistakes of the past would be repeated to keep the British from claiming their prize. Little did he know how much of an uphill struggle this would prove to be.

He knew about Mallory and Irving who, in 1924, had disappeared from sight en route to the summit.

Mallory and Irvine

The last photo of Mallory and Irvine.

He knew about the inadequate clothing, faulty equipment, bad hygiene, and the British abhorrence of taking anything more than an amateur approach to the laws of physics and anatomy during the course of preparations for Himalayan mountaineering.  Reading the accounts by some of these Everest veterans one could be forgiven for thinking that it was better to martyr oneself on the mountain rather than admit scientific thinking into the climbing equation.  “Muscular Christianity” was an ideology of embracing God through athleticism that came to prominence in the Victorian era and had become pervasive in the climbing world.  Over the years Muscular Christianity had demanded — and received — a large volume of human sacrifice from its acolytes: toes and fingers from the frost-bitten limbs of those who survived, everything else from those who did not.  Later in his career, my father became the go-to expert on frost-bite because of his success with preventing amputation.

The Everest problem, for my father, was the problem of high altitude – in particular the last thousand feet, where the human body enters a realm it is not naturally equipped to survive.

High on the Lhotse face.

High on the Lhotse face.

Here the air is so thin and cold, that, without supplementary oxygen, the human body starts to shut down, even though the owner keeps walking. Trouble was, no one had been able to lick the oxygen problem.  Flawed thinking and faulty equipment meant more often than not that oxygen sets appeared to make things worse and were abandoned by frustrated climbers who often felt they intruded on the “pure” mountaineering experience anyway.  Thus, as he approached the summit, the living climber turned into the walking dead.  He just didn’t know it yet.  The history of high altitude climbing is littered with tales of those returning victorious or otherwise from the upper reaches of the mountain only to die as they descend: literally stopped dead in their tracks.

One of nearly two hundred dead bodies on Everest.

One of scores of dead bodies to be seen on Everest today.

My father spent his whole career railing against those who resisted the so-called “cheat” of having safety oxygen available at all high camps.  Several superb mountaineers he had climbed with died needlessly on other people’s expeditions, he felt, because they did not have back-up oxygen for emergencies.  Alan Rouse, who had climbed with him on the first ascent of Mt. Kongur in China, died on K2, sitting in his tent, left behind by his companions, drowning in his own bodily fluids as he spoke to his pregnant girl-friend by radio.

Alan Rouse (l), Michael Ward (c), Chris Bonington (r). London, 1980.

Alan Rouse (l), Michael Ward (c), Chris Bonington (r). London, 1980.

My dad felt events like these turned mountaineering into a blood sport, and his disdain for its practitioners knew no bounds.

"The most inhospitable place on Earth": the South Col

“The most inhospitable place on Earth”: the South Col.

For my father in 1951, the solution to the Everest problem lay not in faith – faith in the human spirit’s ability to endure beyond what was endurable simply through brute physical force and mystical will-power – but in a thoughtful, well-researched and practical application of scientific principles to the challenges of high altitude, cold, and the limitations of the human body to function in both.   The question was: how to overcome these challenges, and who was the man to lead the way?

Looking down the Lhotse face

Looking down the Lhotse face

After he had figured out the route and approached the Himalayan Committee about putting together a Reconnaissance expedition, he made inquiries which led him to the name of Griffith Pugh.  Thus it was that my father found himself walking into the gaunt edifice that was the Medical Research Council’s Division of Human Physiology in Hampstead.

Pugh Book cover

In Harriet Tuckey’s probing new biography of Pugh, Everest – The First Ascent (whose revelations amount to a re-writing of accepted Everest history), she describes their fateful first meeting.  It’s an iconic scene, straight out of a movie.  After finding no receptionist at the front door, “Ward searched along wide, dark corridors, eventually finding Pugh’s laboratory on the second floor.  Entering the laboratory past crowded shelves of scientific equipment, Ward was confronted with a large, white Victorian enamel bath in the middle of the room, full to the brim with water and floating ice-cubes.  In the bath lay a semi-naked man whose body, chalk-white with cold, was covered in wires attached to various instruments.  His blazing, red hair contrasted sharply with the ghostly white pallor of his face.  The phantom figure was Dr. Griffith Pugh undertaking an experiment into hypothermia.  Ward had arrived at the crisis point when rigid and paralysed by cold, the physiologist had to be rescued from the bath by his own technician.  Ward stepped forward to help pull him out of the freezing water.  So began a long, fruitful collaboration and friendship.”

Griff Pugh

Pugh, a brilliant physiologist, Olympic skier, and trainer of high-altitude commandos during the war, not only knew his science but also thought outside the box.  Eventually he would reassess every aspect of equipment, diet, hygiene, and physical training in order to overcome the problems of “the last thousand feet of Everest”.  In effect, the successful outcome of the ’53 expedition would have been impossible without this application of scientific thinking to an intractable series of problems.  Pugh’s work revolutionized all sports that took place in the mountains, and paved the way for a whole new field of scientific inquiry, what my father would refer to as “a cornucopia of science”.

Hilary and Tenzing en route to the summit of Everest.

Hilary and Tenzing en route to the summit of Everest, wearing the open circuit oxygen sets that Griff Pugh had diligently refined.

But in order to achieve this Pugh would have to win over not only resistant climbers, but also the entrenched, anti-science culture of the Himalayan Committee that was running the show.  It was a struggle every bit as epic as the quest to ascend the world’s highest mountain, and the true story of what actually happened, and the full measure of Pugh’s contribution, was suppressed for many years by those in a position to do so.  It is only with the publication of Harriet Tuckey’s book that this riveting story – which in fact is far more interesting and inspiring than the hitherto accepted orthodoxy — has been made public for the first time.

In these fascinating extracts from a scientific film that Pugh assembled with the aid of Tom Stobart (the official Everest cameraman) and George Lowe (who shot the high altitude sequences), we can see some of the issues he was tackling.

After his experiences on the Cho Oyu expedition in 1952, a dry-run for Everest itself, Pugh insisted on an extended period of acclimatisation for the team. The benefits were enormous.

Another major factor contributing to the success in ’53 was an increase in food and fluid intake, per Pugh’s recommendations.  He made sure to pack each climber’s rucksack with favorite delicacies for consumption at high altitude, where appetites were normally depressed.

My father found working on the science of high altitude with Pugh utterly absorbing, and it stimulated an interest he was to pursue for the rest of his life.  Here he assists Pugh with a step-test in an experiment at Advanced Base Camp (21,000 ft.), just above the icefall.

My father’s interest in the effects of high altitude dovetailed perfectly with his career as a clinician and surgeon.  When Pugh decided to put together the first dedicated expedition to research high altitude physiology, my father immediately came on board.

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The Silver Hut expedition of 1960/61, in which a group of mountaineer-researchers lived at 19,000 feet for six months, performing a wide range of experiments upon themselves, jump-started a whole new field of research in spectacular fashion.

Inside the Silver Hut 2

Riding a stationary bike inside the Silver Hut. My father would later continue these experiments high on the Makalu Col.

The constant round of experiments was alleviated by skiing —

silver hit ski-ing

Griff Pugh skiing

Griff Pugh skiing with the Silver Hut mascot, Rakpa.

— and by the ascent of local unclimbed peaks.

Ward and Gill, barely visible dots just below the summit of Rakpa Peak (named after the Silver Hut mascot).

Ward and Gill, barely visible dots just below the summit of Rakpa Peak (named after the Silver Hut mascot).

My dad led a successful first ascent of the spectacular “Matterhorn of the Himalayas”, Ama Dablam, narrowly avoiding disaster on the way down when a sherpa broke his leg and had to be carried down on the backs of others, and sometimes swung like a pendulum off the peak’s precipitous rock faces. It was the first ever winter ascent, alpine-style, of a Himalayan peak; it was another eighteen years before the mountain would be climbed again.

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The second attempted ascent of the expedition, of Makalu (the world’s fifth highest peak at 27,825 ft.), did not have such a happy outcome.  Bad weather plus a series of accidents and collapses owing to high altitude resulted in the entire party being stranded at different camps high on the mountain.

Pete Mulgrew after collapsing near the summit of Makalu

Pete Mulgrew who collapsed near the summit of Makalu. Note frostbite on his fingers and nose.

If it hadn’t been for the presence of safety oxygen and the determined good sense of the one relatively inexperienced mountaineer in the party, John West, who climbed back up the mountain to see where everyone was, many could have died, including my father.  He described his own rescue, after being stranded alone at 24,000 ft. for two days, thus: “At about 11 o’clock that morning I had my first brush with consciousness again.  This was John West’s bearded face gazing at me.  I remembered his teeth very well.  They looked remarkably clean.” (The whole enterprise is described vividly in Harriet Tuckey’s book and my father’s autobiography, In This Short Span).

Members of the Silver Hut team:

Members of the Silver Hut team: (l. to r.) John West, Mike Gill, Griff Pugh, Michael Ward, Jim Milledge.

The work at the Silver Hut led ultimately to my father writing the first wide-ranging text book in the field of high altitude medicine and physiology, and subsequent editions were co-written with two other members of the team: Jim Milledge and John West.  Jim gave a most moving, and entertaining, address at my father’s funeral.

Michael Ward

Michael Ward

However, up to his death, my father, like Griffith Pugh, continued to suffer the scorn and cold shoulder of the leader of the ’53 expedition, John Hunt, and his acolytes.  There were many reasons for this.  As Medical Officer my father had to order Hunt to go down the mountain when he felt his deteriorating condition and insistence on “leading from the front” during the perilous ascent of the Lhotse Face was endangering not only the expedition but also lives.

There was also a heated confrontation over Hunt’s tactics for the final assault, in particular his choices concerning the setting up of high camps for the summit attempts.  My father felt Hunt was compromising the chances for success of the first assault party of Tom Bourdillon and Charles Evans by establishing their final camp too far from the summit. His misgivings were proved correct when the climbers had to turn back within sight of the top. Problems with their closed-circuit oxygen equipment, untested at high altitude, had delayed their progress. Pugh had warned Hunt this was likely to happen with the closed-circuit sets, which were a newer, more complex technology than the open-circuit design which Hilary and Tenzing, the second summit party, were to use. The controversy over Hunt’s strategy remains unresolved.

Here is Pugh’s discussion of the closed-circuit oxygen sets used during the first assault on the summit:

John Hunt

John Hunt

Hunt was a military man, and a fine leader in many ways (though not as strong a climber as the rest of the team), but he was definitely of the “Muscular Christianity” school of mountaineering.  Harriet Tuckey: “He told his wife that on Everest he had carried with him a feeling that the hand of God was guiding him towards his goal.  This sense of being chosen by God coloured the way he framed the official history of the expedition.” Which meant that science was largely relegated to the appendices of the official expedition book written by Hunt, and when mentioned at all in the official film of the expedition, made to seem like part of his own inspired leadership.  There was barely a word of attribution for Griffith Pugh, the true architect of the boots Hunt had walked in, the clothes Hunt had worn, the food Hunt had eaten, the tents Hunt had slept in, and the smoothly functioning oxygen sets that had saved Hunt’s life on the Lhotse face and lifted Hillary and Tenzing to the summit.

Tenzing Norgay and Ed Hillary after summiting Everest.

Tenzing Norgay and Ed Hillary after summiting Everest.

In the introduction to the new edition of my father’s book, Everest: A Thousand Years of Exploration, the distinguished French mountaineer Eric Vola does not mince words in his appraisal of Hunt and his animosity towards my father.

Everest new edition cover

He recounts an extraordinary episode which took place in 1973, at the 20th Anniversary Celebration at the Royal Geographical Society when my father spoke about the contribution of science to the success of the expedition.  Afterwards Hunt came up to him, furious, and started shouting: “No one wants to hear about that science!”

Faced with the ironic silence of my dad (ah, how well I remember the futility of arguing with those silences), who was by then a distinguished senior Consultant Surgeon, Hunt became apoplectic: “I hate scientists”, he fulminated.  Then he turned to another member of the expedition and said: “Someone should shut Ward up”.

An Everest reunion at Pen-y-cwm in Snowdonia: my father stands to the left of the group.

The Everest team in Snowdonia: my father stands to the left of the group; Hunt, in black sweater, is in the middle.

At home my father remained remarkably sanguine about all of this.  His greatest frustrations derived from having various expeditions to remote corners of Asia cancelled at the last minute because of local political instabilities, and having to deal with the officious bureaucrats of the National Health Service and their equivalents in the unions.  On one memorable occasion, when the umpteenth strike closed down his operating room, he called up a fleet of taxis to pick up his patients and drive them through the picket lines to another hospital so he could continue his scheduled operations without interruption.

Michael Ward Master of Apothecaries

He was a dedicated believer in socialized medicine to the end, eschewed private practice (not for him the cultivation of an unguent bedside manner), and during his very active tenure as Master of the Apothecaries (the City of London’s oldest Guild) he implemented a number of forward-thinking programs in international medical co-operation.  Foremost amongst these involved bringing his own specialized knowledge and experience to bear on the problems of medical relief after natural disasters in Third World countries.

His retirement from clinical work also saw a focusing on his many scholarly areas of interest, with articles being published in leading medical and mountaineering journals on a regular basis.  Even a horrendous car accident in no way dulled his mind, which seemed ever ready for adventure.  After completing his seminal Everest history, he turned to consolidating his lifelong interest and research into the extraordinary accomplishments of the pundits, native surveyors who mapped vast tracts of Central Asia for the British in secret, using the most basic tools and formidable memory.  He had in fact learned these techniques himself, applying them in part on the Everest Reconnaissance of 1951, and more thoroughly during his trips to Bhutan in 1964 and ’65.  (He used to practice being a pundit during walks in London’s Richmond Park — apparently much to my bewilderment as a toddler).  A book was to be forthcoming, but his death curtailed the project until it was taken on by Richard Sale.  The resulting volume, Mapping the Himalayas: Michael Ward and the Pundit Legacy, opens yet another window into his lifetime’s journey of exploration and scientific inquiry.

A page from my father's 1951 Everest Reconnaissance diary, depicting the approach to the Western Cwm.

A page from my father’s 1951 Everest Reconnaissance diary, depicting the approach to the Western Cwm.

Looking at reproductions of pages from his Everest and Bhutan diaries enables one to share some of the same excitement he must have felt as he navigated through the icefall or looked upon the remote Lunana region, Bhutan’s own Shangri-La.  He somehow always managed to be amongst the first Westerners to see these wonders.

Trekking through Lunana

Trekking through Lunana

Taktsang Monastery

Taktsang Monastery

Given the history of his fractured relationship with the Hunt establishment in British mountaineering, it was all the more striking – and gratifying – that when my father died the fulsome obituaries went out of their way to give him the full credit denied him in his lifetime for the many areas of pioneering work he brought to the worlds of mountaineering, exploration and high altitude medicine.  I was stunned to see The New York Times give him equal space with the legendary civil rights activist Rosa Parks.  These were two indomitable characters who I think would have liked each other if they had met.

Escaping the heat in the Arun River, en route to Everest 1951.

Escaping the heat in the Arun River, en route to Everest 1951.

His funeral was remarkable for its celebratory nature, and revelatory in a way that he would have been profoundly moved by.  Several elderly gentlemen, who had traveled long distances to attend, were amongst the congregation in the packed church, and were unknown to both myself and my mother.  It turned out that they had been medical students under my father’s tutelage.  He had inspired in them equal parts terror of what would happen to them if they made a mistake or forgot some obscure fact, and complete devotion to the practice of good medicine.  That he had so inculcated in them the spirit of excellence, intellectual honesty, and moral integrity was a legacy he would have been proud of above all others.

Mt. Kongur in China (climbed by my father's expedition in 1981), seen across Lake Karakul.

The approach to Mt. Kongur in China (climbed by my father’s expedition in 1981), seen across Lake Karakul.

To me, personally, he was a remote figure in many ways, the result of his own emotionally undernourished childhood.  It was therefore a treat to see him bond so completely with my daughter, who, upon meeting him for the first time, declared that he was “Dodo”.  He wore his new name like a badge of honor.  My greatest regret is that I didn’t sit down with him, with a tape recorder, and just talk.  Get all the stories.  All the knowledge.  All his insights into a time when true explorers roamed the earth and walked off the map and had adventures the rest of us can only dream of.

Everest from Khumbu w:Ama Dablam

He was a daunting figure in his accomplishments and no-nonsense disposition.  His competitive streak, combined with a disregard for the niceties, could make him seem brusque, somewhat remote. But, in truth, he was a man of deep feeling: a remarkable man from a remarkable generation of men who, like the great British film director David Lean, were always looking to the far horizon, then tried to figure out the most interesting way of getting there.

Everest 1951: Ward and head Sherpa Angtharkay looking across Tibet from the Menlung Pass.

Everest 1951: Ward and head Sherpa Angtharkay looking across Tibet from the Menlung Pass.

Michael Ward climbing in North Wales.

Michael Ward climbing in North Wales.

This is the third and final part of my reminiscences about my father’s role in the First Ascent of Everest and the 1951 Reconnaissance Expedition.  You can read Part 1 – “Watching Dad on Everest” here, and Part 2 – “My Dad, the Yeti, and Me” here.

MY DAD, THE YETI, AND ME ( EVEREST 1951 )

Yeti sketchOne of the perks of having my dad for a dad was the strain of unusual and exotic experiences that ran through my life as a result of being related to a Himalayan explorer, one of the team that first climbed Mt. Everest in 1953.  For example, aged 6, having tea with the Queen of Bhutan and her family in a Kensington apartment, while a bodyguard named Rinzi, wielding a substantial saber and sidearm, stood guard nearby.  (He was forever memorialized when I gave my childhood spaniel the same name: they shared a disposition of attentive watchfulness and deep brown eyes.  And how many other London kids could say their faithful hound was named after a royal Bhutanese bodyguard?  Thanks, Dad.)

When friends came down to the country for the weekend, we’d haul out my dad’s tent and camping gear.  “What’s that smell?” my chums would ask, noses pinched.

“Yak!” I would respond with glee.  God knows what ingredients actually created this odor.  This stuff had been perched for a winter at 19,000 feet near Everest.  Or was it a leftover from those epic treks through Bhutan, going to places no Westerner had ever been, venturing into terrain more Shangri-la than Shangri-la?  No matter.  The smell, though pungent, evoked Adventure with a capital ‘A’.

Hillary 1951

But the story which I got by far the most mileage from, and still do, is of the time my father encountered serious evidence of that legendary hobo of the Himalayas: the yeti, or abominable snowman.

“Oh come on, you’re pulling my leg,” any companion whose ear I am bending with this tale will protest.

I whisk out my phone and google ‘yeti footprints’.  “There are photographs to prove it,” I declare, almost offended by the lack of faith.

Those photos?  Those are your dad’s photos?”

I nod my head, “Yup, next to the footprint that’s his boot”.

yeti footprint w: boot

“Cool!”

Very.

Thanks again, Dad.

This is what happened.

Everest view w: lake 53 Gregory

Fall 1951, and the Everest Reconnaissance party had been making its way laboriously through the Khumbu icefall, tricky and dangerous work, trying to reach the Western Cwm.  From there they could better see where a possible route to the summit may lie.  My father writes in ‘Everest: One Thousand Years of Exploration’: “Towers of fragile ice fell without warning and crevasses continually opened and closed.  The icefall had become an immense, unstable ruin, as though an earthquake had shaken the entire glacier.”

Ice Pinnacles Khumbu glacier

Various routes through the upper reaches of the icefall were attempted, then abandoned.  Finally, a few days later, they broke through into the Western Cwm, only to be confronted by an immensely wide and deep crevasse which barred the entrance to the level valley of deep snow beyond.

Everest5

“I started down one or two places where we thought it might just be possible to descend to the bottom of the snow-choked crevasses many feet below; but even if we could have reached these ‘bridges’, they might have collapsed, or we might have found that the near-vertical ice on the far side needed artificial climbing and the use of our small stock of suitable hardware….

Everest icefall 1951

“Eventually we gave up.  I felt very frustrated by this decision, for here was a good piece of technical climbing which, as I was getting fitter, I would have liked to try…. But, as Bill Murray put it: ‘We had climbed up and we had climbed down the impossible!  Gainsaying the pundits we had found a route up Everest.  This route would go.’”

The main work done, the team split up into different groups to explore some of the surrounding country.  My father, together with Eric Shipton and Sherpa Sen Tensing set off towards an unknown peak, “a glorious spire of pale pink granite, capped by snow.”

Menlungtse

They named it ‘Menlungtse’, “after the stream that meandered through green meadows around its foot – a vast amphitheatre of pastureland glacier.

Menlung La

“For our crossing of the Menlung La, we were traveling together, unroped, at about 16-17,000 ft.  It was at about midday that we came across some tracks on the snow of the glacier.  Sen Tensing had no doubt in his mind as to what they were – yeti tracks.  Questioned closely, he was quite adamant that he had seen similar tracks in Tibet and other parts of the Himalaya.  Here there seemed to be two distinct sorts of track.  One was well-defined in that individual prints had recognizable features such as toes; a second group was less well defined, with few if any individual features.

“The more interesting were the well-defined tracks, most of which were on a thin covering of snow over hard glacier snow-ice.  Many, but not all, of the imprints were clear-cut, and there were a great many of them.”

They paused, chose one especially clear footprint, and took photos.

yeti footprint w: iceaxe 2

“These distinct tracks went down the glacier and we followed them for about half an hour before they turned off into a side moraine; we continued down the valley.  The tracks went straight down the glacier, which was almost level but with some very narrow and shallow crevasses, perhaps about a foot or less wide.  Where those crevasses had been crossed by a line of prints, it seemed as if a ‘claw’ had protruded beyond the imprint of each of the toes.

“About 48 hours later, Bourdillon and Murray followed the line of the yeti tracks further down the glacier, and both men noted in their diaries that, though deformed by wind and sun, the tracks took an excellent line down the glacier.”

Clearly whatever creature had made the tracks was every bit as good a navigator of high mountainous terrain as British climbers!

Everest climbers 1951

When released to the public, the photos, naturally, caused a sensation.  They remain the one clear piece of photographic evidence for the yeti that is not easily explained away.  Forever after, my father was plagued with accusations that he and Shipton had somehow “made up” the footprints as a practical joke, a possibility belied by the independent corroboration by the other two climbers.

Lacking any other definitive evidence for the yeti, my father’s own best theory for the cause of the footprints was a human: “Though neither Shipton nor I realized it at the time, the inhabitants of the Himalaya and Tibet can and do walk in the snow for long periods in bare feet without frostbite, and I was later to see this also in Bhutan and Tibet… “

He wrote papers on the subject for the Alpine Journal and Wilderness and Environmental Medicine, detailing a number of conditions that could result in enlarged toes and even deformities of the whole foot.

“The ‘claw marks’ observed in the Menlung prints could be explained by the presence of Onychogriffosis or ram’s horn nail…

The Silver Hut pilgrim: eating a pipette (left), and showing his bare feet.

The Silver Hut pilgrim: eating a pipette (left), and showing his bare feet.

In January 1961, during the Silver Hut expedition in the Everest region, a Nepalese pilgrim who normally lived at 6,000 ft. visited our research sites and lived for fourteen days at 15,300 ft. and above.  Throughout this period he wore neither shoes nor gloves and walked in the snow and on rocks in bare feet with no evidence of frostbite.  Moreover, he slept outside with no shelter, at measured temperatures of minus 13ºC, and managed to avoid hypothermia by controlled light shivering.”

Silver Hut 1

The Silver Hut

What do I think?  “There are more things in heaven and earth…”  A few years ago an ABC News team was in the Everest region and came across yeti footprints.  They were on the same glacier where my father and Eric Shipton had been in 1951.

Back on Everest, more drama was to follow.  After a few days my father and his companions realized they had strayed into Chinese-occupied Tibet, a dangerous situation that could end up provoking an international diplomatic incident if they were discovered.  It could imperil the whole Everest adventure.  They decided to make a run for it at night, along the banks of the river that raged through the Rongshar gorge.  This was the stuff of the adventure stories and movies my dad lapped up as a kid, but it was all somewhat more alarming when you found yourself actually in one for real.

Rongshar gorge

The Rongshar gorge

“The thunder of the torrent beside the path reverberated against the canyon walls, drowning the noise of our footsteps as we passed quickly through Topte village, hoping that the Tibetan mastiffs, let off their chains at night, would not hear or smell us.  In the dark we stumbled over roots and rocks – in places a tree ladder had to be climbed, and in one fearsome place the path was only a few branches wide, balanced on a cliff face thirty feet above the boiling river and held onto cracks in the rock by small twigs.

“At about 4am our ‘smuggling’ sherpas reckoned we were past the frontier and we stopped and slept at the side of the path.  An hour later the sun came up and we were surprised by a group of six wild-looking Tibetans with long pigtails, armed with swords and muzzle-loaders with antelope-horn rests, who erupted into the scene with much shouting.  We could not escape since a vertical rock cliff of over 2,000 ft. towered behind us, and the boiling Rongshar river was only a few feet away.  Immediately a noisy and furious argument started, with much gesticulating and shouting.  Angtharkay (the head sherpa), all of five feet tall, seemed incandescent with fury.  As the whole argument was conducted in Tibetan, we had no idea what it was about.

Angtharkay (c.) with Shipton (r.)

Angtharkay (c.) with Shipton (r.)

“After ten minutes of this Angtharkay came over to us and suggested that we four Europeans should retire a suitable distance away while he and the other Sherpas sort things out.  After a further twenty minutes he returned with a broad grin.  ‘Everything is settled,’ he said, ‘but I am afraid it will cost you seven rupees to buy them off.’  Ten rupees had been demanded, but Angtharkay had considered this exorbitant.  The shouting had been the negotiations.”

All returned safely to England, and a new route to climb Everest had been found.

TIMES_EVEREST_RECON_IMG_7107

My father was never one to spontaneously break into tales of his exploits, but when I could coax him to speak about his various adventures (and Everest 1951 and ‘53 were only the first of many), his eyes would light up as, in his mind’s eye, he would step back into his climbing boots and walk into these stunning landscapes, unmapped regions of the earth that he was amongst the first westerners to explore.

Everest 1951

I recall, aged around 9 or 10, venturing with him into the Harrods bookstore and discovering for the first time the Tintin series of original graphic novels.  I scanned the brightly illustrated covers which promised exciting adventures underseas, in the jungle, on a crashed asteroid, and even in space.  Where to begin?

My father spoke: “Well, you’re going to have to pick one of them.”

Then my eye fell upon the only possible choice:

Tintin-In-Tibet cover

The cover scene was eerily similar to the one my father had lived through in real life.

I beamed as I handed the book to the cashier.

“My dad met a yeti once,” I proudly announced as she rang me up.

The cashier smiled indulgently at me and then my dad: “Oh really, how interesting.”

My father, with the smallest hint of a grin, handed over his money and said not a word.

Tintin in Tibet end

Footnote:  First serialized in 1958, Tintin in Tibet was Herge’s personal favorite among his many tales of the young reporter, and was no doubt influenced by my father’s well-publicized yeti photos, as well as by the author’s own fascination with the mysticism of Tibetan Buddhism.  He wrote it as a personal journey of redemption during a period of crisis, when he was assailed by recurring nightmares of “the beauty and cruelty of white”.  His Jungian psychoanalyst told him he needed to destroy “the white demon of purity” in his mind.  One imagines that some climbers who have come near to death as they pursue their passion for ascending into the highest realms of the earth are well acquainted with “the beauty and cruelty of white.”

This is Part 2 of my reminiscences about my father’s role in the First Ascent of Everest and 1951 Everest Reconnaissance.  You can read Part 1 – “Watching Dad on Everest” here, and Part 3 – “My Dad on Everest and Beyond”, here.

WATCHING DAD ON EVEREST ( THE FIRST ASCENT AND 1951 RECONNAISSANCE )

The successful 1953 expedition -- my father, tanned and dark haired with beard, is in the middle of the front standing row.

The successful 1953 expedition — my father, tanned and dark haired with beard, is in the middle of the front standing row.

It was on this day, the 29th May, sixty years ago, that two men – Edmund Hillary of New Zealand and Tenzing Norgay of Nepal – stepped onto the highest point on Planet Earth, five vertical miles above the palm trees and distant twinkling ocean waters I can currently see from my window.   And on that day my dad, along with the other members of the 1953 British Expedition that was endeavoring to claim those virgin snows for a fading empire, busied himself on the lower reaches of the mountain, anxiously awaiting news from the wind-swept slopes above .

When the news finally broke in England of the British expedition’s successful  ascent (and it was an ascent in every sense of the word: physically, logistically, aspirationally, scientifically and – perhaps most importantly to a country still struggling with the lingering privations of the War – spiritually), it was the morning of the young Queen’s Coronation.  The ultimate production number now had the ultimate curtain-raiser.  Can you imagine what was going through her head as she labored out of her royal jammies (hand-tailored by Royal Appointment) into her coronation robes?  “Top that, Victoria!”

Everest Times headline

Back on Everest, as the successful climbers returned to the lower camps, they were greeted with tea (for Tenzing, on the left), warm lemonade (for Hillary, on the right), and, I fervently want to believe, a plate of chocolate digestive biscuits (it’s a British thing).  They’d certainly earned it.

Tenzing Norgay and Edmund Hillary drink tea in the Western Cwm after their successful ascent of Mount Everest

And as you look at the film of the returning conquerors of the high, thin air, there you can see my father, smiling along with everybody else, all stoically clapping each other on the back with typical British restraint.  It’s one of those occasions when I marvel at my countrymen’s inclination towards emotional restraint in circumstances that would send Americans (and most nationalities, let’s be honest) into fevered paroxysms of celebration.  In fact, as my father wrote: “No member of the party was particularly elated….  Our first feelings in success were those of relief.”  Relief that no one had died in the attempt, and, perhaps, relief that no other country had nabbed the prize from under the noses of the British, who had always felt the mountain was theirs to claim (the Swiss had come within 800 ft. of the summit the year before).

Ward, Stobart, Band in tent

In the evocative documentary of the 1953 Ascent, The Conquest of Everest (which is also mildly – but understandably – jingoistic, and occasionally inaccurate), you can see dad laboring through the trickiest part of the climb — the icefall — fixing ropes and cutting foot-holds for the legions of sherpas and climbers who will follow, carrying supplies destined for the upper reaches of the mountain.

Into the icefall

The icefall is aptly named.  It’s as if a god of earlier mythology — a titan, perhaps, in the mood for mischief — had taken a series of high waterfalls and raging rapids, frozen and enlarged them, then put them on a slow-moving rubber conveyor-belt which will stop, stretch, then restart with a massive ping!, sending avalanches of snow and ice hurtling down through the canyons of vertical white and deep-frozen blue.  Hidden crevasses with hungry mouths and bottomless maws lurk beneath the sparkling surface, ready to swallow unwary interlopers.  The bottom of the icefall occasionally yields up the dismembered corpses of its hapless victims.

Crossing crevasse 53

The narrator sets the scene in those deliciously clipped BBC tones of the period, savoring every last ‘r’ of the script’s alliteration: “The ice is always on the move — crrrrracking, rrrrroarrrring, rrrrrumbling… Ward is fixing guide ropes….  This place has a name — the climbers called it ‘The Nutcracker’: no one knew if it was opening — or closing.”  Cut to an avalanche sweeping down the mountain.  When I first watched this footage aged around 8, I thought:  “My god, that’s my dad!!! ” and, even though he was sitting next to me: “He’s going to die!!”

in Khumbu icefall

Yup, these were our home movies and family snapshots.

Dad (r.) "relaxing" in the icefall

Dad (r.) “relaxing” in the icefall

But I am getting ahead of myself.  This story actually begins a few years earlier, in 1951, after the Chinese had invaded Tibet, cutting it off from the outside world.  It was through Tibet, which bordered Everest to the north, that every assault on the mountain had hitherto been made.  Nepal, to the South, was unknown territory: barely mapped or explored by Westerners.

My dad, then 25, was already a highly skilled and respected climber.  When it came to hanging on in life, he did it literally – and often – usually leading the routes he was climbing.

Michael Ward climbing

Well-versed in the history of Everest exploration he played a hunch and descended into the spectacularly disorganized archives in the basement of the Royal Geographical Society.  He rummaged around in drawers full of loose, un-filed materials, examining thousands of photos from earlier expeditions for clues as to what lay on the mountain’s southern side, until – in a true Indiana Jones moment – he found what he had only suspected might be there.  Out of an unmarked brown envelope tumbled secret photos of Everest taken by spy planes during the war, and (music swells, camera zooms in) a forgotten map, compiled from photos and a photogrammetric survey carried out in 1935.  A sketchy map, with plenty of empty space on it, but a map nevertheless.

The Milne-Hinks Map

The Milne-Hinks Map

First Flight over Everest, 1933

First Flight over Everest, 1933

It all added up to clear evidence of a possible route up Everest from the south, through Nepal.

He took his findings to the newly-formed Himalayan Committee, which was responsible for administering all expeditions to the region.  In bravura bureaucratic fashion, it immediately distinguished itself by pouring cold water on the whole idea.  Undeterred, he began organizing an expedition anyway.  He brought in Bill Murray, a pioneer of Scottish winter climbing, and therefore familiar with some of the more extreme weather conditions they could expect to find on Everest.

Michael Ward 1951

Michael Ward (left) and W.H. Murray at Namche Bazar, Everest Reconnaissance 1951.

Also onboard was Tom Bourdillon, a rocket scientist, and one of the best British climbers of his generation.  With the addition of Eric Shipton, an iconoclastic veteran of Everest, as expedition leader, the Himalayan Committee finally acceded, and The Times newspaper provided the necessary financial backing.

Further members of the team assembled as the expedition trekked in through the foothills of the Himalayas.  The sherpas were led by the legendary Angtharkay, described by Shipton as “absolutely steady in any crisis — outstandingly the best of all the sherpas I have known.”  Then, one day on the trail, as described by my father in Everest: One Thousand Years of Exploration: “two New Zealanders, Earle Riddiford and Edmund Hillary, came surging up the hill brandishing enormous Victorian-style ice-axes.  Expecting to see a group of well-dressed Englishmen, they were surprised and perhaps a little disconcerted to find that, if anything, we were scruffier than they were.”

1951 Everest Reconnaissance Team: (clockwise from left) E. Shipton, W.H. Murray, T.D. Bourdillon, H.E. Riddiford, E.P. Hillary, M.P. Ward.

1951 Everest Reconnaissance Team: (clockwise from left) E. Shipton, W.H. Murray, T.D. Bourdillon, H.E. Riddiford, E.P. Hillary, M.P. Ward.

Moving along broken trails, crossing raging rivers on rickety bridges, suffering through the tail-end of monsoon season and all its attendant miseries of rain, mud and leeches, the team made the first walk-in to what would later become the world’s busiest (and filthiest) camp site: Everest base camp.

In his autobiography my father wrote: “I was continuously amazed by the stark beauty of the mountains and by the steepness and incisiveness of their faces and ridges.  The sherpas always rejoiced in the beauty of their country and though I thought this might be a case of special pleading, the three days’ walk up to the foot of the Khumbu glacier represents one of the most memorable experiences that I have ever had.”

Thyangboche Ama Dablam

They passed by the monastery of Thyangboche, at 12,000 feet standing as gaunt (if not as precipitously) as the monastery in Powell and Pressburger’s hallucinatory Himalayan fantasy, Black Narcissus.

Movie mountains and monastery...

Movie mountains and monastery…

Looming over Thyangboche monastery is one of the most spectacular mountains in the world, Ama Dablam: ‘Ama’ meaning mother, and ‘Dablam’ meaning the locket in which Sherpa women keep their valuables.

“A gigantic tooth, rearing into the sky”, wrote my father, “it dominated the monastery and the whole area, its upper wedged-shaped ice slopes serrated by the wind and glistening in the sun.  The lower part spread out massively into knife-edged black rock-ridges.  This was without question the most staggering of all the peaks that I had ever seen”

Ama Dablam Thyangboche use

… the Real Thing.

My dad would return to the mountain during the pioneering Silver Hut expedition of 1960/61, when a team of climber scientists would live a whole winter at an altitude of over 19,000 feet, performing high altitude research.  He would lead a successful first ascent of Ama Dablam, but not without incredible drama along the way.  Near the summit, a sherpa fell, breaking his leg.  Being so high on such a tricky technical route, all ice and precipices, this could have been a death sentence.  Instead my dad got him down safely by trussing him up like a chicken, then carrying him down vertical rock and ice faces in relays with other team members — one climber with the sherpa on his back would descend, unable to look at his feet, while his companion would physically move his feet from one toe-hold to another.

But now, here, in the shadow of Ama Dablam, poised on the edge of this pioneering adventure in their own Shangri-la, these last true explorers of the British Empire paused and looked towards the distant bulk of Everest, a conglomeration of peaks whose huge mass dwarfs everything around it.

Ama Dablam Thyangboche large

The Everest group, upper left, (with snow plume coming off the distant summit), with Ama Dablam (right), looming over Tyangboche monastery barely visible on the ridge in middle of photo.

Above the sheer wall of Lhotse peaks the distant summit – swept almost black by the wind — barely visible as it claws at the dark blue of space like some vast volcanic spur of alien rock.

“Walking, as I had that day, straight towards the Everest group of peaks”, my father wrote, “I had been overwhelmed by the sheer audacity and steepness of the more immediate mountains that seemed to hang over my head.  In the distance I could just see the top of Everest peeping over the nearer wall formed by Everest and Lhotse, which never seemed to get closer.  The crest of the Everest-Lhotse wall, 25-26,000 feet, towered at least two vertical miles above my head.  At its base were rock pinnacles and snow humps of 21,000 feet which on their own might have been considered peaks, yet in this setting appeared insignificant.”

Everest from Kalar Patar

Everest from Kalar Patar

They arrived at the foot of the Khumbu glacier, “a horrible maze of ice lumps, and covered in unstable stones.  To carry loads up this way was to have a glimpse into purgatory.”

Khumbu glacier 1953

They were at the gateway to the Western Cwm, a massive snow valley which swept upwards towards the steep Lhotse face that led up to the South Col, the inhospitable staging-post from which the summit attack could be launched.  Two years later, it was the struggle to ascend this 4000 ft. wall to the South Col that would almost be the undoing of the British attempt on the summit.

LhotseFace2

But now, between them and the Cwm, lay the daunting obstacle of the icefall.

khumbuIcefall

It was decided they were not all fit enough to tackle this yet, so they split up to scan this massive complex of constantly shifting ice towers and crevasses from neighbouring peaks and slopes.

During the following days my father embarked on the type of exploratory mountaineering — walking and climbing off the map, if you will — that was to become his passion for the rest of his life.

ericshipton1951

Eric Shipton and Reconnaissance Party, 1951

“This was my first taste of mountain exploration and I was fascinated by the mystery of penetration into unknown country.  The disciplines and margins of mountain travel are as absolute as those of any scientific subject….  The uppermost feeling was an intense curiosity to see what the next bit of country looked like.”

Everest 2 climbers 1951

1951 Reconnaissance

“The urge to go on and on, continually finding out what is round the corner or over a pass, together with the pleasure of seeing it all fit in place, like a giant’s jigsaw, became to me one of the most fascinating aspects of mountaineering, and this was my first experience of it.”

gregory_alfred-expedition_tents_mount_everest~OMcbd300~10417_20120722_319_696

The team reconvened at the base of the icefall, fully aware of the considerable danger that awaited them from hidden crevasses and flash avalanches that swept through its icy terrain.

Everest 1951 pass

But they were determined to break through to the Western Cwm, to look up through its snow fields towards their eventual goal.

Icefall 1951

(l.-r.) Everest, Nuptse, Lhotse, with Icefall, 1951

In the movie of this moment, these men look down the valley which leads back to Thyangboche, last outpost of civilization. They turn and look at each other, channeling craggy Sam Shepard in “The Right Stuff”  as he eyes his experimental jet-plane with a view to breaking the sound barrier. In silence the decision is made. They hoist their rucksacks, grab their ice axes, and turn into the wind.

Moving off, they disappear into their map’s white empty spaces, and the cold embrace of the icefall.

Sunset_Over_Everest_from_Tengboche

This is Part 1 of a three-part series of reminiscences about my father’s role in the historic expeditions to climb Mt. Everest.  You can read Part 2 – “My Dad, the Yeti, and Me” here, and Part 3 – “My Dad on Everest and Beyond”, here.