Category Archives: Review
Covid-19 has dominated the headlines this year and will continue in 2021. Mostly unrelated to the pandemic, it has been been a year where much-loved friends and family have passed. Like everyone, social contact has been limited, unless it’s taken place over a screen. There has been a lot of sadness, that’s for sure. It doesn’t need dwelling on, which is why I thought I’d make this review a look back at things to be grateful for.
JANUARY – MARCH
Life continued relatively normally up until March, although the virus was starting to spread more widely. At work I was out and about, reporting on stories. Then, the week before lockdown, I achieved a long-held dream which was to studio produce the breakfast programme.
A holiday of a lifetime had been planned for April to visit New York City to watch a Broadway show and see the sights. It wasn’t to be this year but I’m glad to have took the plunge to book something I had wanted to do for so long. The plans will hopefully not go to waste, when life gets a bit more normal and holidays can resume.
STAYING AT HOME
I started working from home on 19 March 2020, shortly before Prime Minister Boris Johnson asked the nation to do the same, during the first lockdown. Underlying health conditions mean I’m classed as clinically vulnerable to coronavirus. As restrictive as staying at home for such an extensive period may seem there are advantages.
Not having to commute to work gave me extra time in each day. It’s been lovely to spend this with my fiancé, who has been shielding with me. When we both worked together in Blackburn we were able to take our lunch breaks together and it’s been nice to do this again, usually with our cat sitting on one of our knees!
In a busy life it’s all too easy to overlook some of the simple things that bring joy. I’d never paid too much attention to the changing of the seasons before. Noticing the plentiful flora and fauna around us and the way it transforms and continues – despite what nature throws at it – became a metaphor for the year. This enhanced awareness of the world around us is something I hope to take with me beyond 2020.
One of the best things I did at the start of the first lockdown was to set my parents up on an iPad. Something we won’t look back on because it’s been a great way to communicate. I normally visit my family in Manchester a lot and vice versa. To have this contact restricted has been difficult. Video calling on FaceTime has helped massively to feel a sense of connection, for which I’m grateful.
Using Zoom and Microsoft Teams has kept me connected to colleagues too. I was delighted to give a talk to journalism students at my former university, UCLan, remotely using this technology. Video conferencing also enabled me to be involved in BBC’s England’s Diversity Action Group. Connecting people and ideas across the north. I’m passionate about diversity, inclusion and equality and am glad I can be involved in this important area, alongside my job as a journalist.
This blog was updated more than I expected, as a way to document and diary my time, particularly as I was shielding. It’s been cathartic to do this and I hope one day I can look back on these posts when Covid-19 is a distant memory. This year has allowed me time to expand the pages on this website and very soon the content will all be able to be accessed by visiting www.katybooth.com.
A DREAM COME TRUE
In this challenging year, for so many reasons, a career ambition of mine was realised…
I’ve had such a varied career in broadcasting and journalism which has given me valuable experience. For the majority of time, this has either been as a freelancer or via fixed term contracts. I’m at a point in my life where I want to settle, which is something I can now do thanks to becoming a permanent member of BBC staff on a continuing contract. I’m delighted this can be in Cumbria – part of a talented team at a fantastic radio station.
The positive reactions to my posts on social media about this step in my career have been phenomenal. Thank you to everyone who has got in touch with kind comments It’s been nice to share such a joyous moment with so many people.
2020 has taught me not to take anything for granted – to take a day at a time. My thoughts are with everyone who has lost loved ones to Covid-19 or other causes. Just because the date changes doesn’t mean the problems of the pandemic will go away. We all need to be as vigilant as ever. However, a new year brings new hope. I wish you health and happiness in 2021. Stay safe.
“The show must go on”, as the old adage of theatre goes. Although, during the coronavirus pandemic, this has been incredibly difficult for the arts and entertainment industry. Any ticketed indoor venue has to weigh up the social distancing and sanitising costs against any potential profit they can make by putting on a show with a reduced audience. For a lot of theatre companies, it’s currently not a viable option.
Therefore, for many of us, we have to think back to pre-lockdown times to remember the last occasion when we were sat in an auditorium together, watching a live performance on stage. However, this past week offered a chance to see the latter streamed live into our own homes. On Tuesday, this was supporting theatres across the north of the UK, where the doors have been closed to the public for at least the last six months.
The performance was Romantics Anonymous, put on by the Wise Children theatre company. The story is based on the French-Belgium romantic comedy film Les Émotifs Anonymes, which has been adapted into a musical by Emma Rice. The plot is predominantly set in a chocolate factory. It follows the lead characters: Angélique – a shy chocolatier, and Jean-René – the factory manager, as they fall in love despite their social anxieties.
All the actors have been in a bubble together, which meant there was no social distancing necessary on stage – they could sing, dance and kiss each other, just like in old times. The performance was streamed live from Bristol Old Vic and each night this supported theatres in a specific region of the UK or the USA, with the funds generated in the price of a virtual ticket. Theatres close to my heart, as well as geographically, that were hosting the show that I saw were Theatre by the Lake in Keswick, The Lowry in Salford and Home, Manchester.
It was great escapism to watch this musical; for a couple of hours, life felt normal again. The story was sweet, just like chocolate, and I particularly liked the stylised elements of the staging – there were hardly any doors used on set, for example. The car chase scene was also performed innovatively without a physical car, as such. No spoilers – but there was mini remote controlled version!
Another adage of theatre is “the smell of the greasepaint, the roar of the crowd” – or is it the other way around? There was a socially distanced show performed to a seated audience at the end of the week. However, for the majority of the shows, there may not have been an audience in person to see the performance but it will have been enjoyed by many people, viewing over a screen as part of 2020’s ‘new normal’.
It’s a sign of the times now that some entertainment is offered drive-in style. Concerts, stand-up comedy gigs and movies, like Danny and Sandy go to in the film Grease. Well, this past weekend, as well as the one before, I went to a drive-in kite display at the Westmorland Showground in Cumbria. It’s been a good opportunity to build up confidence again, as I ease out of lockdown.
This display was organised by the company SmileFactor10, which is based nearby in Preston Patrick. The same people behind the St Anne’s kite festival, something I know about from my time with BBC Radio Lancashire.
With another radio connection, I came across the most recent event when setting up a piece for BBC Radio Cumbria about an alternative Westmorland Show that’s being held at Crooklands, near Milnthorpe, instead of the usual event that can attract crowds of about 30,000 people. While researching the piece I found out there was some drive-in kite displays coming up.
The event had to be booked in advance on the website and upon arrival at the showground gate you showed your QR code and it was scanned through the car window. Each parking spot on the field was five metres wide, which allowed for space beside the car for a picnic at a safe social distance from others.
The first weekend was so enjoyable it prompted a visit again the week after. One thing you can’t plan for though is the wind speed and this was stronger the first time around, which enabled bigger kites to take to the skies. Giant teddy bears, Chinese dragons and big manta ray fish, for example. The second weekend allowed a glimpse of some smaller and more delicate kites including Little Red Riding Hood and Superman.
Whatever normality is, being at the kite-display felt a bit closer to that. It was good to be out and about again, even though it’s a small and tentative step it feels like a step in the right direction. A way to support local businesses and feel the sunshine… I even have a sunburnt arm to prove it!
“Holding to nothing whatever” was the theme of this year’s Buddhafield festival. It’s usually based in the Blackdown Hills Area of Outstanding Natural Beauty, near Taunton in Somerset, with roots in the Triratna Buddhist Community.
I attended the gathering in person in 2015, which was also my first experience of camping and when the photographs in this blog post were taken. I’ve been on annual leave from work this past week so when I heard the festival was being held virtually this year, due to the coronavirus pandemic, it felt like a great opportunity to get involved once again.
The festival was held over five days, utilising technology with the likes of Zoom and Facebook live broadcasts. I’ve particularly enjoyed the talks, meditation sessions and musical performances. Personal highlights were sets from the band Hands of the Heron as well as soloist Susie Ro.
Although viewing over a screen, the sense of connectivity with others was still very much felt. The opening and closing ceremonies being memorable for this, with people joining in for the mantra. What struck me was that a sense of community is so much bigger than just our locality. A reflection that’s particularly pertinent during lockdown.
Some attendees commented that lockdown has felt like an enforced retreat for them. Another called it ‘the long pause’ – a lovely analogy that describes what quarantine has done for many of us, by offering time to re-evaluate our lives. For me, one of the positives is that it’s allowed a deeper connection to nature.
My first experience at Buddhafield, five years ago, has stuck with me because of the powerful spirituality that I felt. This was not lost by transferring online and I shall remember this year’s festival for the inspiration, innovation and compassion shown from everyone involved.
(All photographs taken at Buddhafield 2015.)
I started 2019 on a high. Last New Year’s Eve I presented my first live radio show in years, since immersing myself in broadcast journalism. The programme was ‘Songs from the Shows’ on BBC Radio Lancashire and featured movie musical hits.
The buzz of live radio is why I love my job; there’s nothing like it. I presented Eclectic 80s live on Good Friday, alongside my main role producing the drivetime programme. Lancs will always have a special place in my heart because that’s where I got my first paid work in the industry, before moving to commercial radio and coming back again.
In summer, I transferred further north, to BBC Radio Cumbria. A station I knew previously, having done work experience there. I’m based in Carlisle and moved home from Blackburn to Milnthorpe. The drive to work takes over an hour, but it’s probably one of the most scenic commutes in the country.
In under six months I feel like I’ve developed so much, as a person and a journalist. Learning the intricacies of a new patch has been an exciting challenge. I get to do the newsroom roles I’m familiar with, like bulletin reading and reporting. I’ve learnt new skills too – including making video content for the social media pages and produced the station’s overnight general election coverage. The team have been so welcoming and I can’t thank them enough for the opportunity.
At the beginning of the year I made a resolution to update this blog more often and set myself a target of posting at least one new entry a month. I’m glad to say that, once I publish this post, I’ll have hit that target. I think I’ve written some of my best pieces this year, including my take on the changing local radio landscape and disability representation in the media.
It’ll be an early night for me, this New Year’s Eve. My alarm clock will go off in the wee small hours of the morning because I’m reading the breakfast news bulletins on BBC Radio Cumbria. It’s great to be able to start 2020 by doing what I love. Happy New Year!
L.S. Lowry has always been an artist I was acutely aware of. Whether you like his paintings or not, his artistic influence is around the area I grew up in Greater Manchester and beyond. After all, those were the industrial landscapes he became synonymous for.
Everywhere I’ve lived I’ve had a print of Lowry’s hanging on the wall and at school we sang the “Matchstick men and matchstalk cats and dogs” song in assembly. We went on field trips to Salford Quays, first in 1999 to see the Lowry Arts and Entertainment centre being built and after the millennium to see plays performed there and to visit the galleries – something I’ve continued into adulthood.
I wanted to see the film Mrs Lowry and Son but was disappointed to learn it wasn’t being shown at my local cinema and the nearest showings were difficult for me to get to in south Cumbria. Luckily, a community screening of the film was shown this weekend at the Arnside Educational Institute, by The Dukes Theatre in Lancaster.
The film was a delight, mostly a double header featuring Vanessa Redgrave and a trim Timothy Spall. I can’t imagine any other actors playing those roles. Spall has got the demeanour of Lowry and I had to admire Redgrave’s Salfordian accent, similar but in many ways distinct from Mancunian and she captured it.
It’s mostly a double header between the two and tells the story of Lowry at the beginning of forging a career as an artist. Seeing beauty within people and in a landscape that others dismiss. The narrative follows Lowry’s search for acceptance in his work but mostly from his own mother.
There’s some stylised elements, which play nicely alongside the realism of the story. Mill workers stopping in their tracks so Lowry can examine their intricacies is an example, as is the ending… which you’ll have to watch to find out what happens!
Although set in Pendlebury, it was nice to see certain scenes set in my hometown of Stockport. The Crowther Street steps feature prominently and there’s a nod to the photograph where Lowry is seen with the viaduct in the background.
The interval interrupted the narrative flow somewhat, but gave a glimpse into cinema’s past appropriate for the time period that the action takes place. It allowed for a raffle to be drawn and for the audience to discuss what they had seen. There was a lovely community feeling to the screening, something that you can sometimes miss at a larger multiplex.
As with most films, it’s special to view as a collective experience and the same can be said for this, with many humorous touches and moments of tension. Mrs Lowry and Son is a particularly poignant film but subtly done. At only an hour and half running time the film, like the man himself, is unassuming but filled with artistry on every level.
It’s the decade of big hair, big shoulder pads and even bigger songs.
That’s why, over the Easter period, I wanted to present a specialist music programme dedicated to the music that defined a decade. It’s a popular radio format for a reason and these songs ‘test well’ with listeners.
If the BBC wants to attract younger audiences then I think music of this era is a great way to do it. It evokes memories for those who remember the decade for those who lived it and appeals to those who didn’t. I think it’s testimony to how good the sound of the time was because programmes – and indeed entire radio stations dedicated to the decade – prove so popular.
When I was starting out in my broadcasting career I learnt a lot from the likes of DJ Caz Matthews at North Manchester FM. A few years later, I appeared on BBC Radio Manchester’s 80s programme firstly with Manchester musician Clint Boon and latterly Stuart Ellis. I was delivering travel bulletins into the programme at the time and a great advantage was that I got to hear a lot of the output! I know 80s is a format well done by very knowledgable and experienced presenters, which is why I wanted to do something a little different an put my own spin on things: I pitched “Eclectic 80s”.
My programme on BBC Radio Lancashire celebrates the niche, the novelty and great songs you don’t often hear on the radio. Wham! was the most requested band in my running order but, instead of what you might expect, I played ‘Young Guns’, when was the last time you heard that?
80s computerised TV host Max Headroom makes an appearance with The Art of Noise for ‘Paranoimia’, in what arguably takes the title of most eclectic song played in the whole two hours – and proudly so!
Also, I channeled Brett Davison’s ‘Tricky TV theme teatime teaser’ by playing the full theme from the TV show ‘Moonlighting’, which starred Bruce Willis – back when he had hair. It was performed by the late, great Al Jarreau and producer by Nile Rodgers of Chic. I’ll post a full tracklist at end of this blog post.
I was so proud of this programme, especially with the amount of interaction that I got while on-air. I wasn’t expecting much as it was Good Friday evening, but people got in touch to say they were listening, to tell me what they were doing and share their memories of the 1980s.
It’s only available on BBC Sounds for a few more days so if you fancy a quirky couple of hours to re-live the new wave, new romantic and synth pop style that defined a decade, follow the link here and re-run the fun: https://www.bbc.co.uk/sounds/play/p075j96b
Stomp! – The Brothers Johnson
Sweet Surrender – Wet Wet Wet
Oh Patti (Don’t Feel Sorry For Loverboy) – Scritti Politti
Here Comes The Rain Again – Eurythmics
Rain or Shine – Five Star
The King of Rock n Roll – Prefab Sprout
You’re the Best Thing – The Style Council
My Old Piano – Diana Ross
Moonlighting – Al Jarreau
Kissing with Confidence – Will Powers feat. Carly Simon
Dancing with Tears in my Eyes – Ultravox
Let’s Wait Awhile – Janet Jackson
Danger Zone – Kenny Loggins
Chant No. 1 (I Don’t Need this Pressure On) – Spandau Ballet
Too Shy – Kajagoogoo
Sweet Love – Anita Baker
Young Guns (Go For It) – Wham!
Bridge to your Heart – Wax
This Woman’s Work – Kate Bush
Paranoimia – The Art of Noise feat. Max Headroom
Rosanna – Toto
Here we Are – Gloria Estefan
Don’t Look Down (The Sequel) – Go West
January, February – Barbara Dickson
Half a Minute – Matt Bianco feat. Basia
Thinking of You – The Colour Field
My One Temptation – Mica Paris
Down to Earth – Curiosity Killed The Cat
Waiting for a Train – Flash and the Pan
It’s 50 years since the most beautiful airliner the world has ever seen took to the skies. I’ve had a soft spot for Concorde many years and wanted to mark the anniversary of its first British test flight by explaining why the aircraft is special to me.
Despite being retired from air travel, Concorde remains a pride of British and French engineering as a mainstay of supersonic flight – reaching Mach 2, twice the speed of sound, at an incredible 1,350 miles an hour.
Aviation is in my blood on both sides of the family, so much so that in the first careers test I did at school the results indicated that I should work in that industry. My uncle was an air steward for British Airways and my Mum, Dad and auntie all worked at Fairey Engineering in Stockport, which was originally a manufacturer of military aircraft.
As you might expect, I grew up living under the flight path of Manchester Airport (some may call it Ringway) and could see the line of take offs and descents from my bedroom window. The site of the Stockport air disaster in 1967 isn’t too far away either.
One particular occasion in the school playground, the whistle blew and everyone had to stand still and listen to the teacher for instruction. It seemed far too early to go inside, but instead we were told to look to the sky. Concorde was flying overhead and it was a magnificent sight and sound to experience.
This didn’t sound like a usual aircraft landing, there wasn’t a sonic boom of course as that was forbidden over towns and cities. The sound of the airliner was louder but smooth. I also saw the inimitable streamlined shape from below with the outline of the wings and a “snoop droop” nose sketching a silhouette into the sky, as the landed gear was lowed. All I can describe it as is a magical sight to witness that has stayed with me.
Concorde retired from the skies in 2003. That was after a crash in France due to a catalogue of errors three years earlier had affected some public feeling towards the aircraft. Attitudes towards supersonic travel changed but the fondness the pubic holds towards Concorde still exists. That was witnessed in the last flypast over Buckingham Palace, alongside the RAF Red Arrows. The last time it would be seen in the sky.
Nowadays Concorde is a tourist attraction at sites across the UK, including the Runway Visitor Park at Manchester Airport. Tour guides take you onto the plane and you can also sit where the likes of Sir David Frost, Dame Joan Collins or even The Queen would have travelled.
It makes you wonder how such a splendid aircraft came to be grounded? But in this era of budget air travel it’s clear to see how it happened. Now Brexit is on the cards (or is it…) finances and feelings are elsewhere when it comes to supersonic flight. However, the Concorde era will remain an extraordinary period of aviation history and an example of the great heights that can be achieved.
January – the month of (failed!) New Year’s resolutions and a look back on how the previous year panned out. It’s become a tradition of this blog to do so and I’m happy to say last year was a blast, both professionally and personally. I’m going to be a true radio pro now and try to hook and tease you by saying that I’ve left the best until last… so stay tuned!
The theme of this year, for me, has been to embrace change.
2018 marks my tenth year in radio and I began by continuing to read the breakfast news bulletins on BBC Radio Lancashire. At the start of the year the station had a massive overhaul. We had a studio facelift, to join the ViLor network of BBC local radio stations. In a nutshell, this means all the music and speech clips are played remotely, rather than stored on computers in Blackburn. The studios moved down the corridor and the newsbooth became no more – as the news reader position is now incorporated downstairs, with the rest of the programme teams.
We were the first station to move onto the new system along with a change of newsgathering software to OpenMedia. The beginning of the year therefore involved lots of training and learning how all the technology works. The analogy “like a kid in a sweet shop” comes to mind!
I put the new equipment and editing software to good use throughout 2018 and have been involved in various bits of presentation and production. Before I got involved in journalism, my initial passion for radio came from a love of music. I‘ve been able to present music specials again, including a reprise of my ‘Chilled Christmas’ format and an indulgence in my interest in musical theatre with ‘Songs from the Shows’, which I presented on New Year’s Eve – a dream come to present a live programme solo on the BBC! I’ve also co-presented; again at the Lytham Festival, for the community programme ‘Your Lancashire’, presented the Unmissable Podcast and studio produced ‘Sounds Like Saturday Night’ and ‘Jukebox’.
I didn’t stray far from the news desk though; one of my highlights was producing and presenting a documentary which aired in May. While researching local Lancashire history, I came across a horrific murder case of a baby that was abducted from the old Queens Park Hospital in Blackburn and murdered. 2018 marked 70 years since the death of June Anne Devaney. It was also a police success story – the first case of mass fingerprinting of a whole town, which led to the murderer being hanged for his crime after a trial at Lancaster Castle.
I researched the background, dramatised the story and looked at the development of forensic science over the years. I’ve previously made a documentary and it was great to immerse myself completely into the art of long form storytelling again. I also feel like a bit of an expert on this case in particular.
Towards the end of the year, we had a shakeup of the rotas and now my main role is to produce the teatime programme. I’m really happy with how the show is sounding and loving the opportunity to shape the programme and guide it editorially. There’s something satisfying to start the day with a blank canvas of a running order and by the end have filled it with lots of great local content.
As you can tell, I’ve been quite busy work wise! It was sad to say goodbye to colleagues and stations I broadcast on during my former Saturday job as a traffic and travel reporter. It’s fair to say I’m a workaholic but I took the decision because, for probably the first time in a decade, I wanted more of a work / life balance.
Living in south Cumbria, we’re on the edge of the Lake District and there’s lots to explore. I’m getting more time to develop my hobby of amateur photography and I have a wonderful partner to now share these experiences with. We’ve had some nice trips last year; including Whitby, Kent and celebrating my birthday in Paris. I got to look at the Mona Lisa up close in the Louvre museum, go up the Eiffel Tower and have a meal floating on the Seine opposite Notre Dame… even if it did take a leap of faith off the river bank to get on the boat! No sign of Quasimodo ringing the bells this time though.
You can imagine, with a holiday to Paris planned there were lots of predictions among friends about whether the question would be popped and an engagement would be announced? Well, that’s all far too predictable! It’s too touristy for that and we’re both not the sort to follow the crowd.
I’ll always remember the 11th of November. Of course it’s Remembrance Day for those who have been lost to war. It’s now also poignant for me because it’s the date my partner and I got engaged – on Arnside Pier at sunrise. It was such a beautiful day; there was a stillness in the air and beautiful colours adorning the sky. Finding love and making this commitment has been the most unexpected but wonderful blessing I could ever have wished for.
A memorable year indeed and it’s nice to have a companion, and now fiancé, to share 2019 with. We’ve already had a roadtrip to Portsmouth and booked a holiday for spring. Of course, this is only a snapshot of the highlights of my last year but I do feel the most content I have ever been. Thank you to everyone who shared a part of 2018 with me.
More posts to come in 2019…
It’s that time of year where one of the biggest shows on TV comes to Lancashire. When Elstree Studios are in use for BBC Children in Need, the south’s loss is the north’s gain because this was the week when Strictly came back to the spiritual home of ballroom dancing – Blackpool!
BBC Radio Lancashire had been given tickets to review the hottest show in town and was raffling them off for a lucky member of staff. Having watched all this series and become somewhat of a super fan of course I was going to enter… and won! I’d got engaged the previous weekend, so it added to the memories and became a wonderful engagement gift from the station to me and my fiancé.
We had to arrive at Blackpool Tower for 15:30 and were taken to the VIP holding area. It was sequin central as we made our way among the glitz and glamour to Jungle Jim’s play area to wait to be allowed in the studio. Former pro dancers Ian Waite and Natalie Lowe were on hand to welcome guests next to the cuddly toy grabbers and climbing frames. There was something surreal but down to earth about it all.
An hour later and we were allowed in into the famous Tower Ballroom. Mobile phones were confiscated from guests on entry, probably to stop everyone’s necks craning down during the presenters’ links. While this scuppered any chance of a selfie or a Facebook check-in it actually gave a chance to soak up the atmosphere and take in the resplendent surroundings. If there’s any room that you’d want to spend six hours of your life this would be one of them – and it’s a good job because that’s exactly what we did.
After a quick warm up by a man wearing the obligatory glittery jacket, the musical performances were recorded. Our floor seats were to the right of the stage and three rows from the front which gave amazing views of all the dances, Gloria Estefan and Take That. During the boys’ performance in particular the ballroom’s dance floor literally sprung into action. When all the dancers were jumping in sync we could see and feel the floor bouncing up and down in time to the music. The show was going live on BBC One at 18:45 and right before transmission began The Foundations ‘Build me up Buttercup’ gets the audience geared up for the show. The familiar title sequence played – we clapped along – and were live.
It’s an impressive production in every area; from the talent in front of camera to the crew behind the scenes who work incredibly quickly changing the sets and clearing the floor between dances, while the training VTs are playing. As well as watching the dance choreography it was also fascinating to see how the show was filmed. The audience was on good form all night, with standing ovations and applause aplenty. Then the room erupted when the first perfect score of 40 for this series was awarded by the judges to Ashley Roberts and Pasha Kovalev for their jive set in a fish and chip shop.
As you can imagine, when the live show finishes and the voting lines open there’s a mad dash for a much needed loo break but to keep our spirits up the production team hand out a Freddo chocolate frog and carton of orange juice, while packets of Haribo sweets are thrown into the audience for a sugar boost. As I was making my way across the dance floor I bumped into Charles Venn from Holby City, who had a quick chat and shook my hand. *Swoon!*
The results show is recorded after voting lines close and it’s a much longer process as the team is taking different shots and re-takes; the opening sequence was recorded around three times, for example. This show isn’t shot in sequence, so some of the presenter links or chats with Claudia are filmed in a different order to what you see in the final edited programme on screen.
Then it was time for the the dance-off with former cricketer Graeme Swann against newsreader Kate Silverton. It was Kate and her partner Aljaz Skorjanec who had their last dance but what a fab-u-lous place to have it – in the Blackpool Tower Ballroom. I feel privileged to have watched the production of Strictly Come Dancing – a programme that is a credit to the BBC. It was a long night but an unforgettable experience.
Here’s the moment I appeared on Strictly, for a fleeting glance, at the end of Stacey and Kevin’s performance…