A Passionate Woman
Billie Piper is brilliant as the young Betty; naive and plagued with guilt, the story understands perfectly that such adulterous passion really was forbidden and deeply frowned upon in the austere, stifling post-war years. Here is a young woman, no more than a girl really, who has accepted the first man she has come across and has found herself setting up a home, against many odds, when in reality she's simply not mature enough to do so. Her husband Donald is clearly a good man, but he's also a dull one who has quickly fallen into the male tradition of the era and asked for nothing more from his wife than his tea on the table at an appropriate time. He has no interest in his wife as a person, rarely talks to her about herself, and has no interest in going to the dancehall with her - he was, as he says in one scene, happy to dance with her when he was courting her, but sees little point now that they are man and wife. As the other man, Theo James is very effective, carrying off a swaggering air that makes his '50s Lothario totally believable. He's a young actor with such clear sex appeal that it's easy to see why Betty falls for his charms. Is it love though? I'm not sure, it could easily just be lust which again subtly follows the line that this generation slotted into their perceived roles far too soon to truly know their own mind, desires and feelings. The exact nature of their relationship and feelings comes to a head in the second part.
A Passionate Woman
Part two is a more straightforward adaptation of Mellor's original play and the action picks up 30 years on from Craze's death, against the backdrop of the 1984/85 Miners Strike. Betty is still married to Donald and their grown up son Mark (Andrew Lee Potts) is about to marry. But when Mark reveals he is planning to move to Australia with his new wife, who was adopted as a baby after her mother gave birth in gaol, Betty's past comes to haunt her, plunging her into dark despair - could Mark's intended actually be Craze's daughter? This 'what if' is a touch too convenient in the coincidence stakes to fully ring true, but the cast play it effectively enough to propel the plot and characters to the conclusion. If part one felt like those classic 50s kitchen sink dramas at times, part two feels more reassuringly like the majority of Mellor's TV work, an empowering conclusion for the middle aged woman - complete with a wonderfully farcical end of your tether, rooftop based grand gesture for Betty.
Sue Johnston stars as the older Betty and it's a performance that is just as strong as Piper's. You really get a feeling of someone who has picked up her broken heart and devoted the rest of her life to bringing up her son. It's no surprise that she now feels adrift at the prospect of him flying the nest and landing at the other side of the world, and there's a vacant, haunted look to her throughout as she steadies herself to confront the past and reignite the passion she once felt. And, just occasionally and rather satisfyingly, there is a little resemblance in mannerisms to Piper before her, something which Alun Armstrong who stars as the older Donald cannot help but share with his younger version, given that he is in real life the father of that actor. This casting coup was perfect; it really helped to ground the character and create an effective continuity, especially as both Joe and Alun seem totally at ease in their role. It's also nice to see, in this second part, things told more from Donald's perspective as we realise that Betty is perhaps just as guilty of being uncommunicative as he was, given that she threw herself into her maternal duties with Mark once Craze had died. Rounding out the cast here are Frances Barber as the older version of Margaret, a woman whose confidence is at odds with Betty's and is now an active member in the local WAPC (Women Against Pit Closures) group after having married - her third husband in fact! - a local miner. Barbara Marten also stars as the older Moira, ironic really given that she - like Kelly Harrison - was once a regular in BBC's Casualty, and delivers a superb continuation of the established character from the first part with a clearer insight into the man she loved and killed which serves as a long overdue wake-up call for Betty.
How do you continue to look so great? Physically, I have a very active life. I'm electric. I've been exercising since I was 20. I don't really have a specific diet, but I try to eat a balanced diet. I don't drink alcohol in excess, even though I do have a little wine from time to time. I don't smoke, I don't do drugs, and I take care of myself. When I'm working, I don't go out. The most important thing is attitude. I'm a happy woman who lives in thankful to God and to life for the blessings I have: a beautiful family, a fabulous daughter, a man I love, a career that I adore. I'm fascinated by what I do.
Requited love occurs when the two individuals share mutual attraction and feelings for one another. Unrequited love, on the other hand, can occur when only one person feels passionate love or if the two are prevented from being together for some reason.
The Dorothy Dushkin Papers occupy nine linear feet of shelf space and consist of correspondence; diaries and other writings; scrapbooks; photographs; memorabilia; scores; tape and disc recordings; and miscellaneous papers. The material documents Dorothy's life from the time she began her diary at age 15. David Dushkin's papers are primarily related to his post-marriage life. While the bulk of these papers belong to Dorothy Smith Dushkin, a substantial portion were generated by David Dushkin, and especially in Series V, "Professional Activities," their papers are somewhat intertwined, as were their professional lives. Series I through IV contain largely personal papers, but to the extent that the Dushkins' professional and personal lives overlapped, this distinction is somewhat artificial. For instance, Dorothy's diaries are a highly personal account of her emotional life in which she writes of her dual identities as composer and family caretaker. The diaries, kept faithfully from age 15 to 84, are exceptionally introspective and reflect a lifelong tension between these identities. They reveal a passionate woman coping with, among other things, the worry and strain of many commitments, the untimely death of a daughter from cancer, and the health challenges of aging. The carefree girl of 1919 becomes a sometimes frustrated woman trying simultaneously to satisfy her creative urges and maintain her many responsibilities. The personal correspondence is indicative of the ways in which music was a large part of each of the Dushkins' lives. The bulk of the family correspondence consists of letters received by Dorothy and David, though a significant number were written by them. Of special interest is the correspondence between David and his brother, Alex, and sister, Eva Kassan, living in Israel during the 1960s and 1970s. These letters and a number of others were apparently selected by Dorothy from "masses of family correspondence [from which she] saved just a random pile to represent extended family." Correspondence with friends and associates includes many of Dorothy's Smith College friends and professors, notably Jessie Lloyd O'Connor '25, Caroline Bedell Thomas '25, Ross Lee Finney, and Werner Josten. The most famous Dushkin correspondent was Nadia Boulanger, who wrote 14 letters and notes between 1926 and 1976. The family memorabilia and photograph collection is extensive, providing especially thorough documentation of the Dushkin children's activities. The discs, which recorded family events from baby noises to musical performances, are the equivalent of home movies. The scrapbooks also contain material related to the Dushkins' early teaching careers and activities at the Winnetka school. The bulk of professional papers relate to Dorothy's composing. She kept much of her correspondence with publishers and a special file of programs, clippings and correspondence related to performances of her work. This material reflects her unstinting efforts to get her work the attention it deserved, sometimes successfully, but often with discouraging results. The scores of orchestral, chamber, solo, and other works constitute Dorothy Dushkin's major output as a composer. Most of the tape recordings are of performances of her work, many of which took place at Kinhaven Music School. Both Dushkins were interested in recorder manufacture and repertory, but the correspondence reflects David's more active involvement in this aspect of their professional lives. Dorothy and David participated equally in the founding and running of the two music schools, though it appears from the papers that David's role was more prominent while Dorothy did more work behind-the-scenes. The general correspondence concerns miscellaneous professional activities of both Dushkins, such as their early teaching careers and the wide-ranging musical interests they shared with former colleagues, students, and parents of students. Throughout the correspondence there is evidence of the influence of the Dushkins' innovative educational theories on many of the people who came in contact with them professionally. There is also a substantial amount of Dorothy's correspondence negotiating potential performances of her work.