It was the first time the band had played the entire album in front of an audience, the first time headlining at the Town Hall and, importantly, the first time the band had appeared wearing matching shoes. An anxious, tetchy week of fine-tuning had culminated in a prestigious home gig at the famous old neo-Classical venue. The instruments may have all come from car boot sales, but for the new outfits the band were all styled by George (of Asda) with additions from Primarni. We must’ve been the sharpest-looking 6-piece beat-combo on that stage since Dave Dee, Dozy, Beaky, Mick & Titch….(plus whoever their VJ-genius was) round about the year of my birth.

Everything went to plan. The sound was good (if somewhat on the quiet side) and amongst the 600-odd crowd were many friendly faces, some who’d travelled from afar. Thank you, to everyone, for coming along last night. It was a special gig, indeed. Roll on the next one. In between now and then, though, I’ll be donning my Stan’s Cafe dust-coat for some Rice Show action. The plane flies tomorrow lunchtime, bound for the land of the rising sun.

 

 


Here’s a link to the BBC Online feature, Making Music from Children’s Old Toys, in which Brian exposes the warm circuitry of the mto in advance of the tour dates.


Twinkle,  Twinkle…

For those who may not yet know, this is as close as we fly to the planet Disco…

up above the world so high – the modified toy orchestra

Please note: The wearing of moustaches is not compulsory at the following events;

8th September 2010, 8pm, mto at Birmingham Town Hall

10th October 2010, 7.30pm, mto at Bridgewater Hall, Manchester

Here’s Brian explaining the phenomenon on Breakfast Telly in 2008


I’m in the grand old City of Hull – that place which gave us the pioneering spirit of William Wiberforce, Amy Johnson and er…The Housemartins – and I’m house-sitting for friends Jill and Adam, who are soon to relocate to that epicentre of creativity – yes, Birmingham!  While the Dowse/Ledger conglomeracy are off holidaying in Norfolk, the Rose boys get to reimagine my gypsy life in suspension…pretend that we really live in this lovely house ‘midst the tree-lined avenues of HU5, surrounded by the accoutrements of other people’s lives, with books, CD’s, kitchen utensils, etc. to savour.

From someone else’s garden (and the conveniently placed allotment patch just yards from the back gate) I harvest sufficient for a wholesome feast – apples, pears, raspberries, blackberries, gooseberries, tomatoes (several varieties), cucumber, courgettes, onions, chillies, spinach, spuds, carrots, turnips, beetroot, beans. Half of them end up in a roasting tin. I reacquaint myself with the sound of The Smiths on someone else’s Hi-Fi. I cook a fine-tasting cake in someone else’s oven. Harvest-time is the best time of year, surely? I’m reminded of my beloved Nanny Rose and the cornucopia of delights that would emerge from her back-garden (much to be processed as jam, chutney or wine) and I’m also reminded of the fact that for the past 3 months I haven’t once found time to visit the Bournville allotment that I tend with Lisa TC.

Whereof thou hast not sown, how canst thou reap with a clear conscience? Bah! Waste no want not. The crops need dispensing and are mighty delicious besides. We scoff and chill, before bathing in someone else’s bath and enjoying the comforts of their bed. Just so long as everything is back in its place when Daddy, Mommy and Baby Bear return on friday….

And until then, some local sightseeing; including the remarkable TRAIL O’ TURDS. In honour of its Philip Larkin connection, Hull has initiated Larkin25, a City-wide infestation of giant toads (pronounce it ‘turds’ for a stab at the unique local inflexion) inspired by the Poet’s ‘Toads’ and ‘Toads Revisited’

Toads

Why should I let the toad work
Squat on my life?

Can’t I use my wit as a pitchfork
And drive the brute off?
Six days of the week it soils
With its sickening poison –
Just for paying a few bills!
That’s out of proportion.
Lots of folk live on their wits:
Lecturers, lispers,
Losels, loblolly-men, louts-
They don’t end as paupers;
Lots of folk live up lanes
With fires in a bucket,
Eat windfalls and tinned sardines-
they seem to like it.
Their nippers have got bare feet,
Their unspeakable wives
Are skinny as whippets – and yet
No one actually starves.
Ah, were I courageous enough
To shout Stuff your pension!
But I know, all too well, that’s the stuff
That dreams are made on:
For something sufficiently toad-like
Squats in me, too;
Its hunkers are heavy as hard luck,
And cold as snow,
And will never allow me to blarney
My way of getting
The fame and the girl and the money
All at one sitting.
I don’t say, one bodies the other
One’s spiritual truth;
But I do say it’s hard to lose either,
When you have both.

by Philip Larkin, from The Less Deceived (1954)

And here I am, eating the windfalls. The Three Bears are my friends. Perhaps it is the Toad, though, that I have spent a lifetime avoiding?


After a day of sniffing hot solder, of cable-laying and the colour-coding of jack plugs, here’s a desk-eye view of the current Toy Orchestra line-up – 47 instruments strong. Word has it that tickets are selling well for the Town Hall gig on the 8th September.


Rehearsals this month in the Green Street factory for the modified toy orchestra’s upcoming dates, now including a London gig, in celebration of the survival of 6music thanks to a campaign against the proposed cuts by the BBC Trust. We’re running the complete Plastic Planet set in sequence (warts, rogue bleeps and all) to test the resilience of man/machine as if in a live setting. So far so good. With only 3 weeks to go before the Birmingham Town Hall gig, word is starting to spread, interviews being conducted and there’s even interest from a popular techno-oriented TV show about a possible feature. Details to follow…


the bubble

04Aug10

Zoran, Chris, Liliana, Graham, Eileen, Jill, Vanessa, Jane, Kathy, Liz, Mark, Tom, David, Jonathan & Pete – in a representation of the Morlino family, as visualised from memory by Mary Morlino, the unseen team member (behind the camera).

I’ve been trying (and struggling at times), to explain my  devising methodology to these hungry students at this year’s NODA Summer School. Each year NODA (the National Operatic and Dramatic Association) welcomes 200 or so participants from Amateur Dramatic Associations to week-long courses with titles such as ‘Directing a Pantomime’,Musical Theatre Performance: Hairspray’ and ‘Acting Skills’. Prompted by requests from a braying hardcore of NODA regulars – all eager for something new, NODA director Catriona Cumming approached Stan’s Cafe last Autumn with an enquiry about devising. She had read one of James’s essays on the Stan’s Cafe website – and as a result here I am, on day 4, delivering a range of approaches to Devising Theatre.

Each time I start a process of theatre devising there is a terror, as if my mind empties itself of all substance, all logic. In the ‘planning stage’, hours are spent staring at blank paper or screen with me wondering how I’ve tricked myself and the world into thinking that I can actually do this. But this is a state I seem to have engineered for myself. It keeps happening and doesn’t seem to get easier. I remind myself of an interview I once heard with Al Pacino, in which he said he begins every project believing he knows nothing at all. Some ‘Act of Faith’ has to take over, driving the project. I call upon my intuition to guide me through. I also explain my way into it by saying, “a sculptor cannot imagine how her artwork will emerge without knowing what materials she’ll be working with”. And so I. Before meeting or getting to know the group; it’s individuals, it’s concerns, it’s energy, how can you anticipate what will happen? That’s not to say I have no ideas. I have a menu of starting points, of course, with some notion of how material can be generated and where that might lead to. But in practice what works for one group, may not work (or will work differently) for another. One must always have stuff in the kitbag therefore, with a range of options or opportunities for development. Or sometimes, the good sense to know that something should not be pursued and that a fresh challenge is required.

Here at NODA my anxiety levels were running very high in days 1 and 2. And I know those worries were shared with the group members. But a process that begins with the most mundane building blocks, with lots of frowning and lots of ‘Where will this lead us?’ has transformed itself into sophisticated, beautiful, honest and open theatre, made collectively and owned/inhabited by the group. After today’s session – creating material from ‘found texts’ (ipod music tracks on shuffle, mobile phone texts, fragmentary notes and verbatim interview transcripts) I felt privileged to be in the company of these people. And totally inspired by the process.

The NODA experience is referred to from within as ‘the bubble’ and I haven’t ventured beyond the 60-yard digs>restaurant/bar>rehearsal room triumvirate since I got here.


Plastic Planet

30Jul10

Having burned all his wooden-top puppets for warmth, the lonely Gepetto look-a-like scoured the car-boots for stuff that the chill’un had foolishly discarded. Many years of gathering, soldering and a-splicing later, the modified toys were ready to impart their message to a careless world…

This time…..it’s serious. Here are the links to the Birmingham Town Hall and Bridgewater Hall gigs.


Day 2 at Watch This Space, and we’re flashing our performer passes around like there’s no tomorrow. Infact there is no tomorrow, ‘cos we’ll be jetting back to Coventry this evening – once the trailer has been coupled back up to Land Rover and our Food Vouchers have been redeemed in the luxurious NT canteen.

Spending a career lurking in the shadowy margins of experimentalism, it’s been easy to nurture a cynicism toward the great Theatre Institutions. Easy to forget that the National Theatre is very much a product of our times – a monument to the great achievements of post-war public-sector Arts policy. I concede also that it would be great to work here, as part of what is a substantial artist community; performers, technicians and producers all working towards the running of the glittering NT machine.

Outside, The Whale is faring very well indeed. A mixed audience of Art-hounds and passers-by, many of whom are international tourists with limited English. I’ve found myself attempting versions of the show in French, been sung to in Polish and now know the Spanish for whale….(ballena).


The Whale

27Jul10

I’m readying myself for my debut at the National…

This week Talking Birds‘ touring tin Whale makes an appearance on the South Bank as part of Watch This Space, a summer-long Festival of Outdoor Performance.

For a few minutes at a time, The Whale swallows up its audience – who become privy to a narrative in which a lonesome submariner pines for his distant land-lubbing lover. Like its travelling cousin The Black Maze (Stan’s Cafe) The Whale has beguiled outdoor audiences in the UK and beyond for several years, but has been rarely spotted thus far in 2010. Performance times will be 1pm – 6.30pm (28th July) and 12.30pm – 6.30pm (29th July). See the WTS programme for more details.

The Black Maze, a pitch-black labyrinth built onto the back of a truck, will make an appearance in the same festival next week (4th – 8th August, assuming I can safely despatch it from its MOT depot later this morning) and Stan’s Cafe will also be installing a latest version of the Steps Series at the NT, titled Revolutionary Steps, as a complement to the current production of Danton’s Death, in the Olivier Theatre.

Meanwhile you can befriend a Whale’s Facebook page, which is fast gathering a collection of fine images captured from former destinations. The page will also provide a running Whale-watch from the South Bank.