Photographer Neil Harrison’s posts his documentation of Shelf Life, a two-day investigation/performance with Talking Birds and MA(Interdisciplinary Arts) students in the abandoned Old Library at Queen’s University, Belfast.  (link to Neil’s pictures)

Shelf Life was the penultimate in a series of  ‘Adventures in Interdisciplinarity‘, in which practitioners from different disciplines were invited to collaborate with students – responding to a range of challenging sites or conditions. This was the second ‘Adventure’ for Nick Walker and myself, having spent a chilly weekend in Crumlin Rd. Gaol back in Oct 2008. Artistic Director Anna Newell has run CECPA (Centre for Excellence in the Creative and Performing Arts) at QUB since 2005 and, sadly, her enlightening programme is coming to the end of its own shelf life.


Pilotnight @ AEHarris last night, co-piloted by Kindle – and an opportunity to make public for the first time the idea of The Digbeth Ziggurat. Thanks to some great last minute technical support from Bungle (our intrepid sound supremo) and Rob (resident Pilot tech) the cold industrial vastness of ‘the Americas room’ took on a new and special ambience. I was thrilled to be able to finally commit the idea to the moment. Encouraging noises afterwards reassure me that there is life in this project. I’m not entirely sure how it might develop, perhaps as a long-term research project in collaboration with architects, city planners, funeral directors…(and possibly countless other agencies and individuals) but I feel on the verge of exciting new territory. Judging from a number of comments afterwards, my 9 yr-old (Archie) stole the show with some smartly focussed upstaging. The evening was thoroughly documented and I look forward to being able to post a link to some images.

There was a great vibe in the AEHarris space – and some fine presentations from the other invited companies. Stan’s Cafe have set up a feedback opportunity on the website. If you were there and feel inclined, please feel free to offer any further comments or suggestions…


The Forever in Your Debt tour finishes tonight at the New Theatre Royal, Portsmouth. The end has come too soon and that’s a shame, as it feels like we’re just getting into our stride with the rhythm of the road. A few of us starting celebrating  last night after a good Weymouth gig – champagne in a dodgy seafront club followed by brandies on the beach at 3am.

Driving ‘Minty'(the Foursight minibus) over the Dorsetshire hills yesterday, I spotted my first swallow of the year. For some reason I can always remember the sequence and dates of arrival of the swallows and swifts – ever since we were able to bagsie an early lunch and escape school for an hour with Ken Thomas and his Birdwatching Club. The first swallows always arrived in mid April, the swifts during the first week of May. To my experience this repeated itself ever since with amazing accuracy. Not so this year, however ….

another thing come too early.


Pilot Night returns to the AEHarris Factory this coming thursday, 1st April, offering Fools’ Day mayhem complete with an underworld, sleazy bar, opera and trumpets. I’m taking the opportunity to share an idea that’s been festering in my head for ages.

It’s an Idea I call The Digbeth Ziggurat. Conceptual. Physical. Functional. Spiritual.

This will be an imaginary launch event for a visionary building; a recession-busting, sustainable model for urban regeneration; a response to this City’s thirst for landmark development. A Grand Monument, built by the people, for the people, visited upon by the people and ultimately containing the mortal remains of the people of this City.

There won’t be much theatricality, no technology and no tricks. Just an Idea. At the launch I’ll be asking for some modest start-up cash from the City and pledges of Corporeal donation from the audience. Come and become a part of it.


Writing from Margate, with the end of the tour fast approaching, here is a run-down of the remaining opportunities to see Forever In Your Debt.

The show (a collaboration between Foursight Theatre and Talking Birds) is a song-based charting of fiscal failures, as seen through the eyes of four spurious, larger-then-life family members. The piece focusses on the micro-economic human cost of individual debt and the knock-on effect it has on others.


19 March 7.30pm Theatre Royal Margate 0845 130 1786

24 March 7.30pm The Assembly Room, The Civic Barnsley 0845 180 0363

25-27 March 8pm Jacksons Lane Arts Centre Highgate London 020 8341 4421

30 March 7.30pm Weymouth College Theatre 01305 208702

31 March 7.30pm New Theatre Royal Portsmouth 0239 264 9000


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.