I, itinerant

18Mar10

I moved house this weekend.

A rough trawl through the years puts this latest (rented) abode as my 24th place of residence; a fact I find faintly worrysome. This particular move was physically and emotionally knackering. No sooner had I dumped all my stuff, unsorted, into the house I now share with Johnny HamFisted, I was off again on tour. Firstly to Ipswich, and now Margate (I write from the fantastic time-warp that is the Walpole Bay Hotel). Regular moving appeals to the gypsy in me, but makes for inconsistencies elsewhere in one’s life (imagine the lost mail consumed by previous addresses).

My new house is close to where Tolkien grew up (the two towers inspiration still standing in adjacent streets) and the open space of Edgbaston Reservoir makes it feel like we’re in Birmingham-on-Sea – (complete with onshore breeze, rattle of masts and the call of gulls).

The itinerant in me is allthemore appreciative of having some small ether-space in my own name. This URL feels like a Home, somehow.

Thanks for popping by….


We’re in the slightly smelly basement of The Brewery Arts Centre, Kendal, and between dressing rooms and stage there’s a poster display, parading some of the venue’s former glories. Shows (recent and distant) stapled-down, as a cautionary reminder to rabble-rousing young pretenders. I find an early-me on the wall – as Canute the King – clutching hold of the makeshift throne that we cobbled together out of skip-contents. It was an image that was appropriated for the otherwise excellent Brewery Festival of Visual Theatre ‘93.

Although I’ve performed at the venue a couple of times since then, the mere mention of The Brewery brings a faint shudder. Back in ‘93 Stan’s Cafe had made Canute the King, initially as a site-specific event for the magnificent Moseley Road Swimming Baths in Birmingham. With stacks of ambition and little to lose, we staged the show with a floating set, underwater scenes, slide-projections onto the rippling surface, operatic singing, and a harmonica playing jester. It was horrendously difficult realisation, but we somehow pulled it off, garnering a large amount of respect in the process. (see pics) Subsequent to the touring of the scaled-down (2-performer, paddling pool version) we jumped at Anne Pierson’s request for a site-sensitive presentation of the show in Kendal – to which we would also add the live voices of (composer) Richard Chew and Cheryl Pickering.

We chose the ancient ruins of Kendal Castle as our site.

The Kendal Canute was set for the very end of May 1993. Two days beforehand, we were all getting lashed in the Kingdom of Fife at the lovely wedding of our singers Rick and Cherie. We drove back down to Cumbria, probably feeling a little rough (maybe we even slept in the van with the gear) and started to build our Canute set in a semi-derelict vault of the old castle. Sounds promising enough but the lunacy commenced when we started to fill the giant water butt (borrowed from my parents house) and carry it the several hundred yards (poles and harness technique) to the top of the hill. This was an ordeal of Sisyphusian proportions. Back-breaking in the extreme, but as there was no water source at the top (the Castle seem to have had their water supplies cut off in the mid 1500’s) there was no alternative. The task seemed to take hours and was sapping all our energy, let alone our will.

The paddling pool was now wet at least, but very uneven and probably leaking slightly. We needed more water and time was fast slipping away. We knew we must turn our attentions to a more pressing task – the small business of deciding what the show would be. Amanda had by this point hot-footed it from her other show – Insomniac’s L’Ascensore (also in the Festival, but cleverly scheduled as to spare her any water-carrying), and Rick and Cherie were still en route in their Nuptia-wagon.

The elements were coming together but a sickening feeling in our stomachs told us that we’d perhaps bitten off more than we could chew.

There was a whiff of fear creeping in, but then an extraordinary thing happened….

It started raining. Really hard. We looked at each other and thought about all the kilo-joules of energy spent carting water uphill; pushing the proverbial boulder up the mound of Sisyphus. People of Kendal were starting to appear in a trickle up the hillside…from their jaunty strides you could tell they had high expectations.

We could try running away, I thought. If we started running now, they might never catch us. Ok, I’d have to explain the lost water butt to my dad, but then he was used to me losing things….

Then, miraculously, a messenger arrived (I want to say we got a call on a mobile – but we didn’t have one, so I can only presume it was a character on a horse with a pennant and a scroll) and told us that the Festival had decided to cancel the show because of bad weather. We all shook our heads and pretended to look very disappointed.

I remember running down the hill and in Canute-like fashion turning back the tide of audience, now approaching ever thicker. Making sure – just in case the weather improved…which it did 20 mins later.

We’ll never know – maybe Canute in the Castle would’ve been a triumph. Near myth or near miss? Its legend certainly lives on.


The past week saw our merry band let loose in the fine towns of Coventry (famous for its “Lady Godiva, its Ring Road and its IKEA”) and Oxford (famous for its “Ashmolean, its Inspector Morse and its Park & Ride”). The former gig, at Warwick Arts Centre, meant an important return to the commissioning venue that had hosted our rehearsal process a month ago. Friendly faces (and their cackles) helped to ease a few niggling concerns, but eyes were fixed on wednesday’s Press Night as the crucial state of readiness for the show. Un-fortunately….it seems that no-one from the press actually turned up. Someone whispered something about 7 other theatres simultaneously staging press nights….mostly in London. So that was that.

Until of course the following night, when we descended upon the gorgeous, sun-kissed Cotswold-stone-faced terraces and courtyards of Oxford. This was my first visit to The Oxford Playhouse and for once we rolled up to the theatre a little later in the afternoon, relaxed. In this performer’s opinion the show went smoothly and for me the realisation that I’d graduated to that delightful stage of a tour in which the stress of merely remembering the technical gives way to a different kind of energy; no less disciplined, but which is liberating and fun because the performers’ greater facility of the material.

Within hours the online reviews from the Oxford gig start to appear, (not necessarily in the order published)

“Their singing was fantastic, with rich harmonies and real emotion in every number, really adding to the story and meaning behind each song…  An exceptionally clever, well written and presented production that managed to balance the serious and hard-hitting story with some much needed light-hearted and humorous moments. You’re guaranteed to leave the show with your mind reeling – really thinking about the consequences of debt.”

Daily Info – full review

“…most of the music was plodding and pedestrian, the singing at times painful and the lyrics twee…  Most of the oldies in the audience were probably lost from the garbled beginning, and those who weren’t, were disapprovingly shaking their bouffants shortly afterwards”

Oxford Theatre Review – full review

I hope I’ve learned my lesson from Red Shift’s exposure to the Edinburgh review-fest last summer. Online review sites present wonderful opportunities for commentary from all comers from all corners. They give license for individuals to ruminate, spout and froth about what really drives or infuriates them. They can be unsolicited, having no responsibility to any over-riding editorial agenda. But they can demonstrate no responsibility to an audience either. The above OTR review had me laughing: I can accept the author’s dry contempt for the level of Artistry, but what I can’t take is his contempt for fellow audience members. That’s patronising, self-centred and shameful.

Next stop is The Brewery Arts Centre, Kendal. 9th March.


Great news – a request for Stan’s Cafe’s The Cleansing of Constance Brown to appear at an uber-cool Festival in Cologne at the end of May! It will be the show’s first outing since September ….except (damnit) ….I can’t do it, because…..

Great news – a request for The Modified Toy Orchestra to appear at an uber-cool Festival in Aalst, Belgium. It would be the long-awaited first gig of the year, and a launch pad for the album …except (damnit) ….I can’t do it, because….

Great news – The revived, reworked Vesalius – a Requiem is scheduled to open at The Royal Institute of Australia, Adelaide, 4th and 5th June. I’m doing it, damnit! The flights are booked, the sarcophagus lid in the process of being jemmied off and the dust blown from Alan Hay’s old script.

…pages curl and blacken in a second and the motes and sparks lift and turn in the air. Winking rings of speckled fire dilate and coalesce. It is a vision of a man and he subsists in a mighty concourse of planets and suns and I see at once the way ahead. No more peering through dim ancient portals and raking over silent embers. It will be my task to travel these red orbits with my hands, to journey in this firmament and name the names of its moons and count the number of its suns. I will annotate the music of its forces and ratios and whosoever stops my mouth or stays my hand will be an enemy of Knowledge and their time is over from this day.

link to Alan’s special place


Shelf Life

26Feb10

Belfast

Queen’s Uni

On top of the stacks

In the old, abandoned Library.

The information has been carted off,

But ghosts are still present.


This week saw a homecoming for Foursight Theatre Co. with the ‘Forever In Your Debt’ cavalcade screeching into the Arena Theatre, Wolverhampton – always a welcome addition to the touring itinerary. As I write this, I realise that my very first visit to the Arena was 20 years ago this month (with glory what glory’s highly physical, retro-futurist Inertia Real - a collection of  ideas anticipating Millennium fever, set in a space capsule) Director Kevin O’Sullivan is still at the helm and hardly changed from my first memory of him. The Arena is a great example of a venue prepared to take risks on young companies and it boasts a busy programme of work that is sadly lacking from many other venues in these challenging times. Another of the exciting characteristics of the Arena is that you can pretty much guarantee some genuine diversity in the audience: Age (an impressively attentive yr.10 schoolgroup yesterday), Ethnicity, Class and … Sexual orientation ? This last one not so easy to identify by sight, perhaps, but as it happens the venue was also playing host to an LGBT conference (LesGayBiTransgender) on tuesday and I suddenly got nervous that my rendering of Pippa would be under extra scrutiny during the  post-show Q & A session.

Performances have relaxed considerably and the show is in much better shape, thanks to more rehearsal and tweakings of the script. Some elements of the piece remain open to interpretation but feel less problematic to the narrative. Hopefully less problematic for co-director Kate Hale’s parents too – who had no idea there was a Man-person on stage until they read their programme on the way home.

Next week there is a second homecoming – this time for co-collaborators Talking Birds – as we land in Coventry for the Warwick Arts Centre dates. Wednesday is Press night and there is hope that the great and the good will be winging their way up from London town.

In the meantime, though, the Birds’ Nick and myself will be heading to Queen’s Uni, Belfast for a weekend’s Adventure in Interdisciplinarity. This will be our second visit, following a similar weekend of site-sensitive enquiry in the empty Crumlin Rd. Gaol back in October 2008. This time, with the working title Shelf Life, we’ll have the opportunity to interrogate the abandoned spaces of the Old Library Building at QUB. In two days with a dozen postgraduate we’ll create a performance piece which draws on their creative daring, as the students interpret the unique dynamic of the space. I’ve no idea what or how it will happen; therein the excitement lies.


a smudge

21Feb10

On the underside of the shelf, directly above my face, I see a pattern, faintly revealed. The secret mapping of some hitherto uncharted but enchanting place.

I think back to a time when Time stood still; when boy-me could spend an age picking out a face from a wallpaper-smudge or a demon from a cloudy sky. Somewhere along the way, that particular affliction became less strong. Because there’s always a bigger distraction; there’s always stuff to fill the yawning space and always stuff to chase.

But here, in this instant, I dwell in the moment and on the minutiae.

I need to just look.

For as long as I can.

And the luxury of me being able to engage with this thing of nothingness feels like bliss.

The sun surely spreads itself across the window and I’m both bathed and blinded by a bittersweet truth; that something beautiful has slipped away from me.

On the underside of the shelf, directly above my face, there is a pattern, faintly revealed. It’s like a bruise, on the wane.


An uncertain sub-editor whittles-down a reference to Philip/Pippa (the sex change dad) with the line… “the father turns to drink”.

The Hereford Times review of  Forever in Your Debt.


Last night saw premiere of Forever In Your Debt at The Courtyard Theatre, Hereford. The relief of getting the show up and running was immense, particularly given the monster 3-day Tech that has finally brought together the complicated sound, light and staging requirements. There is still a great deal of work to do to improve and steady the ship as it makes it’s voyage around the country; questions to ask about how best to serve the frames of narrative.

At the heart of it there are four personal stories of financial hardship and catastrophe which lead to threats of rooftop suicide. The building’s humble cleaner, Vera, turns counsellor as she attempts to unravel the stories and coax the characters away from the precipice. With her mantra “better a song than a scream”, Vera draws the luckless four into her Band – using songs to illustrate the back-stories. Putting the show in front of an audience for the first time – hearing laughter and applause – reassured us that the show can be followed and that it can be entertaining. But what we haven’t cracked yet is how much we can shape our performance to permit audience’s responses. Eg. can we allow them to applaud the songs or should we drive through without acknowledging them? It’ll take a few shows for us to discover this, I think.

a sample of Pippa's blouse material

Afterwards it was great to get some feedback from friendly faces, but tiredness was working against me. I got drunk very quickly and we somehow wound up in Hereford’s one and only drag bar. The acerbic hostess, Daisy Chainsaw, looked mildly miffed as I joined her rendition of “He never cleans up, the boys does nothing…blah blah”. Her gaydar was clearly showing interference between the channels as I transfered some of my stage persona Pippa onto the dancefloor.

Hereford’s colourful nightlife served us well and sets the benchmark for future tour shenanigans. We staggered back to our digs in the small hours and the next thing I know is waking up with a sore head.

The show continues at The Courtyard tonight and moves on to the Arena Theatre, Wolverhampton in just over a week.


Our rehearsal time at Warwick University is almost done. And we almost have a show; but for the myriad technical complexities which must be layered into next week’s production week transfer to The Courtyard Theatre, Hereford. (amplification, radio mics, lighting, projections, wind machines, ladies’ clothings, etc.)

We ran the show properly for the first time yesterday and surprised ourselves with how moving and funny the show could be. Perhaps it was a collective excitement – knowing that David Dimbleby, George Galloway, Lord Faulkner, Clare Short et al were behind the wall preparing for a showdown on Question Time? Or perhaps it was too much sugar in our tea?

Today was different.  A gaggle of great and good from our tech teams (and from commissioning partners Warwick Arts Centre) came to view the progress. The long hours rehearsal seemed to have taken their toll: Within the first few minutes of the run I – not once but twice – fell on my arse  (the consequence of over-zealous talcuum-powdering of the set in an attempt to make set shuffling easier) and poor Allie near-concussed herself by attempting a pile-drive through 3/4 inch ply. Me in a fury, Emilia & Jill in stitches, Allie in tears. It wasn’t a bright start. We abandoned ship, took 10 minutes to recuperate, then relaunched.

It’s been a hard-working week but light has appeared at the end of the tunnel. It’s very palpable when you suddenly turn that corner and realise the show is within your grasp. Meanwhile, in the parallel universe outside, our friendly builders seem to have dismantled the dirt mountain, tidied away the generators and knocked off early for the weekend. Good for them; we”ll be back in tomorrow for more of the same. And by monday we’ll have arrived in Hereford for the next gripping installment.