18th century print illustration of Weymouth, fashionable spa resort where Frank Churchill and Jane Fairfax become engaged ….
At one point, ten years ago things looked very precarious when the majority of our residents had their accounts at the Bank of Eastbourne. I had borrowed heavily to build the foundations of this resort and was nearly forced, through no fault of my own, into bankruptcy. Fortunately we had a major investor from Antigua, the famous anti-slavery campaigner Miss Felicity Lambe, who was prepared to invest in our resort, and our new bank, “Parker Brothers – The Bank of Sanditon”, and that saved the day. It gives us great pride that the dividends we pay Miss Lambe fund her great campaign: – and her model plantation for free-men labourers in Antigua — from the concluding scene of Chris’s Sanditon
Friends,
Some six months ago now I posted a review of Chris Brindle’s play’s Sanditon, or The Brothers. It was filmed as a play, played on British TV, and a DVD was made available of the play, as well as a 40 minute documentary narrated by Amy Burrows (who plays Charlotte Heywood in the film). I thought it a splendid adaptation, which used the continuation by Anne Lefroy (published in an scholarly edition of Sanditon), which shows a real feel for the original and some knowledge of what her aunt intended. The documentary told of Anne Lefroy’s life as well as some of the circumstances surrounding Austen’s writing of this last unfinished work. Among these that Austen was dying and knew it, and at times in great pain before (and probably) during the writing of this fragment. The way Austen seems to have dealt with pain as seen in her writing was to distance herself, make an ironic perspective which both reflects on the issues at hand, and mocks them (see my The Depiction of Widows and Widowers in Austen’s Writing).
In the same blog I uploaded a beautiful song sung by Burrows and Nigel Thomas, “The Blue Briny Sea,” a composition enacting what seems to have been Austen’s longing to be beside the sea far more than she had been able to. Emma Woodhouse’s longing is repeated in Sanditon where the wish fulfillment element is the town is by the sea.
Since then I’ve been able to read Chris’s script of the play, and an outline of how to turn this 2 hour script for a play or single movie into a mini-series (it looks very doable). Chris explains how he originally wanted to develop a play about Anna Lefroy, but there was insufficient interest — and how he came to develop an ending for Sanditon. He sent me a pdf of his book, Hampshire: Discovering the 19th century world of the Portsmouth artist, R.H.C. Ubsdell in which he recreates intimately the local world of Hampshire both Jane and her niece Anna spent much of their lives in through Ubsdell’s pictures (from the gallery). Finally, a musical rendition (words by Amanda Jacobs) of Austen’s Three Prayers combined into a hymn of praise, “Father in Heaven.” All this material shows immense sensitivity to underlying motifs and feelings of Austen’s works as well as the subtle felt realities of Anne Lefroy’s relationship to her aunt, a real knowledge and empathy with one another.
So when Chris sent me another song he wrote re-imagining aspects of the completed Sanditon, re-enacting Austen’s deep grief at dying so young, looking to understand how she dealt with this seriously (partly by writing), what compensations she saw (her work), I was eager to listen. I was much moved. — among other picked-up suggestions from Austen’s later work, the song remember the poem Austen is said have written in the last day or so of her life, “Written at Winchester on Tuesday, the 15th July 1817,” with phrases like “When once we are buried you think we are gone/But behold me immortal!” With his permission, and encouragement, I upload the new song here: It is written by Chris Brindle, with a brilliant 20 year old Swiss French girl called Clara Chevallerau, and sung by her. (Although only 20 Clara has toured Europe with a Swiss version of “William Tell” and sung for Musical Theatre impresario Bobby Cronin on a Europe / U.S. tour.)
as well as the words:
When did you realise
That you life would soon come to an end
Did you always know your life would be so short?
What is a life what is it worth
– Is it what you leave behind you
When you take nothing with you at the end?
PRE-CHORUS
Your books and letters were your children
Left to others to inspire
– And maybe carry on your work
CHORUS
Do you die if a bit of you will live in others
Or memories of you will still remain?
How do you spend your last few moments
on this earth
When your journey has to come to its end
BRIDGE
In your pain you left us biting satire
A town built on sand in need of hope
But you left us characters who could save it
If in our imagination we could see how they would cope
May the Lord look on you with grace and favour
For this was the world you created
Reaching out for your future
A century or more away
When your pain was most intense
And your time was running out.
FRENCH CHORUS
Est-ce qu’on meurt si un peu de nous reste dans nos oeuvres
Ou des souvenirs de nous survivent encore?
Comment passe-t-on nos derniers jours sur cette terre
Quand le voyage arrive à son terme?
FALSE OUTRO:
Comment une jeune enfant, fille de vicaire
Née dans un petit village du Hampshire
A pu autant, changé la face de cette terre?
REPEAT CHORUS (last time)
Recent photo of Winchester — where Austen lies buried
As we near the 200th anniversary of Jane Austen’s death ….
Ellen
Reveries Under the Sign of Austen, Two 
Diana Birchalls:
Much enjoyed your blog post about this Sanditon film and introduction, Ellen. The link to the vimeos were no longer available, and some of the clips I could see looked to be of good quality and interesting, but the sound was a mess. (Clearly not much budget here.) But I could hear the song about the briny sea, have ordered the documentary and the play on DVD, and I have also been able to order Chris Brindle’s spectacular looking two-volume book set of the paintings of Hampshire artist R.H.C. Ubsdale – very cheap indeed on Abebooks ($15 including shipping for the two), just what I know I will like! So thanks for that.
Chris Brindle’s play is very good. It is really a play, that is written for a stage and that’s quite different from film adaptations. What is so admirable especially is the way he has put together Austen’s unfinished novel with Anna Lefroy’s continuation and then from both drew a probable ending. This ending suggests Austen going in a new direction which we can see she is attempting at the close of Persuasion. These close-knit communities are beginning to loosen, break up. I have read the script and that helps. And that Blue Briny Sea] song and its rendition is beautiful. I am also very interested in Anna Lefroy, who I think is not paid sufficient respect to – -as well as Catherine Hubback. Much much more gifted people than Fanny Knight and Austen knew this of Anna.
[…] I hope none of us has forgotten this year’s 200th anniversary of Jane Austen’s death, with its outpouring of books, meetings, events, including lectures, parades, dances. I wrote no less than three blogs, one on the books and reviews published on and round that day, and Austen’s own last lines, in her novels, and that last week she lived one final parting shot (an ironic poem), the discovery that a picture long known is of Austen’s aunt Philadelphia, cousin Eliza, the aunt’s husband and Eliza’s legal father, Saul Hancock, and the maid, Clarinda, and the first where I sent along Chris Brindle’s poem and “Song for Jane.” […]
[…] You will have instantly recalled that a couple of years ago now I wrote a review in praise of Chris Brindle’s filmed play adaptation of Jane Austen’s Sanditon as continued by Anna Lefroy. At the time I watched a DVD of the play as available on-line, and linked into my review, the beautiful duet at its center, The Blue Briny Sea. I’ve since heard papers on Sanditon and its sequel history at JASNA, in one case confirming that Chris Brindle’s perspective on the novel as exposing the commercial world, innovative and taking Anna Lefroy’s perspective is shared by others. I also put on my blog another song he wrote, both lyrics and podcast, as sung by Clara Chevallerau, “When did you realise/That your life would soon come to an end:” the song re-imagines Austen’s deep grief at understanding she was going to die young, “A song for Jane.” […]
In taking Austen, Lefroy and Sanditon beyond the written word and into the recording studio, the stage, the music video, YouTube, DVD, sheet and electronically editable music, the website and live actor/musician performance, I’ve exploited media that would have fascinated the 19th Century writers, but which we take very much for granted. I would imagine that the Andrew Davies / ITV / PBS production will spend at least £1million an episode, say £10 million+ whereas in mounting my production at “The Other Palace” I will probably spend about £10,000, or 0.1% of their spend. But what I am trying to do is to make ‘Sanditon’ a living breathing experience, and I’m saying to people, actors, musicians, theatre owners, interest groups, “come with me on this journey”. There are multiple versions of the script that can be performed by a flexible number of players, the music has been transcribed and exists electronically in a form that can be edited and added to, so if you would like to participate in some way please do get in touch. Austen left ‘Sanditon’ for people to be inspired by in the future, and the more I work with it, the more I realise what you can do with it, and how many new people you can inspire. I am therefore so happy with the work that others have put in to create and contribute to this blog. I would love to take ‘Sanditon’ to North America so if anybody has a suggestion of a way in that might be achieved, please do get in touch.
Chris Brindle
Colchester, England
brindlechris@aol.com