Four December Theatre Blogs: Compendium of Shows

I've seen four productions at the theatre in the last couple of weeks so here's one bloggie to round them all up. They were: 'The Lion, The Witch and The Wardrobe' at the Bridge Theatre, 'Girl From The North Country' at the Gielgud Theatre, 'The Ocean at the End of the Lane' at the National Theatre and 'The Red Shoes' at Sadler's Wells.

'The Lion, The Witch and The Wardrobe' at the Bridge Theatre

We all know the story of Narnia, of Aslan's might, the witch and eternal winter (but never Christmas) and the four boys and girls who grow up to become High Kings and High Queens of Narnia. The story is brought faithfully to the stage with lots of physical special effects, such as actors running on stage dressed in white and covering the stage in long diaphanous white sheets to create a snowy landscape. There are probably more sophisticated ways of creating the effects but I quite liked the simplicity and magic of some of them, the energy and speed of the actors and the almost childlike wonder of the thing.

I liked Keziah Joseph as Lucy, Beverley Rudd as Mrs Beaver and Wil Johnson as Aslan and the Professor. Aslan was a giant puppet with Wil walking underneath and emerging as himself for the interactive sections of the play. The production has magic aplenty and I loved it. Have your photo taken with the magic streetlamp that marks the border of Narnia - I did!

'Girl From The North Country' at the Gielgud Theatre

A Bob Dylan musical? Who'd have thought it, but that's what we have here. I didn't see it on it's first run a couple of years ago but caught this production at the Gielgud. Dylan didn't really have anything to do with the play but gave his entire catalogue to Colin McPherson, the writer and director, to use as he saw fit (a very generous thing to do). It's not the cheeriest of plays and I didn't know most of the songs but it's a powerful play and experience. The action takes place in a failing boarding house in small town Duluth, Minnesota, in 1934 and the story tells the sad, little tales of people staying in the boarding house as well as the owners of the place.

The use of Dylan's songs is very clever in places, illustrating aspects of the characters lives and adding additional depth to the characters. I was particularly taken by 'Like A Rolling Stone and 'Forever Young' sung by the mother of the boarding house family and 'Hurricane' sung by a failed boxer. Katie Brayben gave an astonishing performance as the mentally ill mother who lets rip with her great voice to great effect (more effective and painful than whoever sings the role on the cast recording). Highly recommended.

'The Ocean at the End of the Lane' at the Dorfman, National Theatre

This is a new play based on Neil Gaiman's book of the same name, a tale about folklore and the supernatural, loss in childhood and, of course, magic. At the centre of the play are a 12 year old boy who meets three generations of Hempstock women, the crone, the mother and the daughter who start out as eccentric country-women and end as powerful cosmic beings as we learn their story. The boy lost his mother and has a strained relationship with his father and sister and he gradually learns to let go and repair the bonds with is family. It's a heart-warming tale but there are some scary moments and shocks.

The staging and lighting was very clever and I particularly liked the way that doors and props magically shot up from out of the floor every now and then - there must've been lots of practice in where the actors needed to stand for that to work as smoothly as it does. I particularly liked Josie Walker as the aged crone with amazing magical powers who gave just the right mix of world weariness and indomitability when needed. It would be good to see this on a bigger stage one day.

Matthew Bourne's 'The Red Shoes' at Sadler's Wells 

The Christmas show at Sadler's Wells is always a Matthew Bourne production and this year it is 'The Red Shoes', based on the film of the same name. It's the tale of a young girl who wants to become a ballerina, gets her chance and becomes a star only for it all to start going wrong when she loves a composer but the impresario of the ballet loves her. O dear, it won't end well.... and it doesn't. It's a funny thing to say about a dance production but I always think there's more dance in this show than in many others of Matthew's, probably because the show itself is about dancing. There's also lots of different styles of dancing and it's great to see the dancers being so versatile.

Our young ballerina was Cordelia Braithwaite (who I saw earlier this year dancing Juliet) and she was on effortless top form. It was also good to see Adam Cooper as the impresario since he danced the original Swan in Matthew's 'Swan Lake' all those years ago. The staging and lighting was excellent and I loved the light flooding the South of France seaside scenes.  Well done all, another triumph!

And there we have it, a round-up of the latest theatrical productions to get them in the Plastic Bag before the end of the year.

An Evening with Neil Gaiman and Amanda Palmer at Hackney Empire

On Thursday evening we made the trek over to Hackney to see Amanda Palmer and Neil Gaiman do a show to promote the edition of the 'New Statesman' magazine on the theme of 'saying the unsayable' that they guest-edited. The event was hosted by the 'New Statesman' and, just in case anyone forgot there were big banner adverts reminding us.

The stage was set like an elaborate morning room with a grand piano, a chez longs and a gold embossed chair along with various props including a giant gramaphone. And lots of trailing wires for microphones - I worried about Amanda wandering around with ample opportunity to trip up (she didn't). Both Neil and Amanda were dressed in black and Amanda's pregnancy 'bump' was very prominent - the proud mother-to-be showing off.

The show followed the pattern of the 'Evening with…' shows they toured in America a few years ago and released as a CD, a mix of chat, recitals and songs. Neil opened the show with his poem about freedom of speech, 'Credo', which is printed in the 'Statesman. He read a story about hosting a table at a literary awards ceremony and another about animals vanishing so mankind started experimenting on and eating babies (Amanda crawled under a throw for comfort at this point).  They talked and interviewed each other about having to censor themselves on Twitter and occasions when they hadn't censored themselves and the consequences. There were some interesting tales.

There weren't many songs - Amanda said she didn't know there was going to be a piano - but the first one was 'The Killing Type' and later we had 'Brick' (a Ben Folds song) and a bit of 'Oasis', all with Amanda on piano. She also accompanied Neil singing the song they wrote together, 'I Google You. Amanda also played the touching 'Bigger on the Inside' on ukelele.

And they had guests, some of whom they'd invited to write articles for their edition of the 'Statesman'.  Mitch Benn was loud and played a song, Hayley Campbell read her tale of the end of Twitter, Andrew O'Neill was deliberately shocking in his jokes (well, not that shocking really) and Roz Kaveney read a story. All came together for a general discussion at the end and were very gabby.

The show ended with Amanda playing the marvellous 'Ukelele Anthem' a song I first heard when she played it at her small show at the British Library a few years ago, with Neil crouching beside her and holding up the lyric sheets because it was so new and she hadn't learned it yet. She had to stop half-way through for water to help clear her throat and then started up again. Then it was clap clap clap and the show was over. They were on stage for about 2.5 hours so that's not bad at all!

It was lovely to see Amanda again, after nearly two years. The last time I saw her was at the Roundhouse with the Grand Theft Orchestra when she was touring 'Theatre Is Evil'. That seems so long ago given her previous touring habits. It's 10 years since I first saw her play as part of Patti Smith's Meltdown festival in 2005 and that was also the first time I met her when she signed my copy of 'The Dresden Dolls' album. I'm seeing her again in just over a week at Union Chapel for her own show - I'm looking forward to that!

PS: thanks to whoever took the photos of the pair on the stage I found on the Internet!

Amanda Palmer 'Ukulele Anthem' 2014

I was privileged to see a preview of Amanda Palmer's 'Ukulele Anthem' at the British Library in 2011, with Neil Gaiman on his knees holding up the lyric sheets since it was such a new song. I've seen Amanda play it a few times and there are various videos on YouTube performing it all over the world. But, today, Amanda posted the perfect version of her playing the song at the Sydney Opera House with the wind whipping her costume around her. All I can say is 'wow'.



Amanda is supposed to be writing her book about crowd-funding and the future of the music biz but she obviously needed some time off to perform. She's been quiet on Twitter for the last couple of weeks which is always a sign that something is up... The video was taken down in the small hours for some reason but it's back up and that's good for all of us.

This video is simple and so fantastic, focusing on the words of the song as Amanda fights against the wind. And she wins. This is an example of why I love her.

Lovely to have you back Amanda!

The Amanda Fucking Palmer Salon 4 June

Amanda Palmer is webcasting her own programme on Tuesday 4 June, live from Boston at 7:00pm Eastern Time and midnight UK time. There will be music and talking, interviews and readings by Neil Gaiman and others. There will probably be swearing and loveliness. There are bound to be surprises. It'll be hosted on RedStarUnion.com.

Amanda Palmer's Rock Show, 20 June 2012 in London

Amanda did a free ninja gig on Tuesday but I saved up my awe for Wednesday when I saw her full-on Rock Show at Village Underground in Shoreditch. The place looked very different from the bare artscape of Monday, with speakers and lights hanging from the rafters, a stage filling the back wall and, not least, a packed, sold-out house. The art was gone from the walls and Amanda was noticeable by her absence which was just as well since she would've been mobbed.

I got there at about 8:15pm with my name on the guestlist as a Kickstarter supporter, to find the place already well filled and the support acts about to start. Amanda came on stage in a kimono to introduce the support acts - once again we had the swirling strings of Jherek Bischoff who was followed by a comedian in a dress. Amanda seems to have a thing about men in frocks on this visit. I was happy to watch from a distance in the bar area and when the comedian left I got ready for the main event of the evening and scooted round for a much better view from the top of the few steps where Amanda had played 'Ukelele Anthem' at the Art Show a few nights before.

Once again introduced by the bagpipes, Amanda Palmer and The Grand Theft Orchestra took the stage and stayed there for about two hours. Amanda stripped off her kimono during the first song to reveal her black rock goddess gear underneath, black bra, basque and skin-tight trousers, long gloves and warpaint on her face, with a sparkly band in her hair. The band launched into 'Do It With A Rockstar', a great opener and the song Amanda had released to Kickstarter backers.

The band played mainly songs from the new album - that's what it was about after all - some of which we were already familiar with, others were brand new. After starting with 'Do It With A Rockstar' we were given 'The Killing Type', 'I Lost My Wallet', 'Trout Heart Replica' and 'Want It Back', all from the new record. For Dresden Dolls fans she played 'Missed Me', 'Half Jack' and 'Girl Anachronism' - who can believe guitar solos in those songs? and the band all swapping instruments three times during 'Missed Me'? She brought the songs to life again in a new reincarnation, no longer just piano and drums, but a full band.

The new songs from the record are all terribly good and work well both stripped back as at the Art Show and with full electric backing at the Rock Show. Rather special was hearing 'The Bed Song' with a full, trembling, backing and 'Berlin', a new song that involved a crowd-source horn section playing along - this seemed like a traditional Amanda song with loud parts and quiet parts but blown away when the horns blared for the chorus, a magical experience. Husband Neil Gaiman came on to sing 'Psycho' with two saws duelling to give him the best weird soundscape.

There were no songs from her first album, 'Who Killed Amanda Palmer', and I thought that odd until the encore that was made up of 'Astronaut' and a mad 'Leeds United' with the horns back on stage and a host of friends dancing and singing along on stage. Once again I regretted not getting up that Sunday morning four years ago to take part in the filming of the video for that song.

Amanda has evolved. She is now a Rockstar and is ready to be Rockstar. This record and these shows will move her up to the next level. Gone are the long, rambling stories and random commentaries and we were presented with an artist that knows how to give her audience what they want, a solid show with herself at the centre. Being at the front of a band brings different responsibilities. She's split herself in two - art Amanda and rock Amanda and I like both visions. She's going to go big with the new album and I suspect that means we'll lose the goddess who gives away free hugs at the end of gigs but if anyone can keep that aspect of her shows going, it's Amanda Fucking Palmer. Go get 'em Amanda, show us all what you're made of.

I will treasure my past hugs and celebrate the birth of a Rockstar.

Amanda Palmer's Art Show, 18 June 2012 in London

Amanda Palmer graced London with her presence for a few days this week, firstly for her Kickstarter Art Show on Monday, a free art-viewing and ninja gig on Tuesday and then her Rock Show on Wednesday. I was there for the Art and Rock shows. Amanda gives good show.

All shows were at Village Underground in Shoreditch, an art and performance space in what looks like an old workshop, all brick walls and high ceiling. The art for the new album and book was hung around the walls along with a few photographs from Neil Gaiman's 'Bed Book' (photos of naked couples in bed). The artworks were mainly of Amanda, either portrait or whole body, with some reflecting songs from the new album, including the cover art with its evil pink background. They were in all sorts of media and sizes and some more expressive than others.

Doors opened about 7:00pm when Amanda's bagpipe playing cousin came out in tartan regalia to serenade us and we duly trooped in. We were given drinks tokens and a black AFP-GTO goodies bag. Mine included a copy of Brecht's 'Life Of Galilieo', a purple felt pen, stickers, a black mask and a flick-comb. Amanda later said that she and Neil had gone to Charing Cross Road that morning to buy 100 books to put randomly in the bags and that we could swap them with each other if we wanted.

Then it was time to get a glass of wine and wander round the gallery looking at the art nailed to the bare brick walls. My favourite was a portrait of Amanda in oils on wood by Cassandra Long. It looked real, a little piece of Amanda's spirit captured in that painting as she looks you straight in the eye. I also liked the multiple exposure photographs Neil had taken of Amanda with their vivid colours and Amanda wandering round topless (there's a theme building here). And then the entertainment began with Princess Hans and Jorg that she'd picked up in Berlin. Amanda announced them and stayed out to watch the show with the rest of us.

Princess Hans is a New Zealander transplanted to Berlin with a shaved head, beard and sparkly silver frock with Jorg playing keyboard. They're a cabaret act and had some nice moments but I've seen beardy men in frocks before. He certainly put a lot of effort into the act and was soon glistening with sweat. Jorg kept his jacket on.

Then we were given Jherek Bischoff and a string quartet he'd recruited from local musicians. Jherek is the bass player in The Grand Theft Orchestra and also does the string arrangements for the band. He's also just released his first solo record and played some of the songs from it. Some of the songs sounded very cinematic, grand and lush while another one sounded like it was string arrangement for the song without the song.

Just as the final notes from Jherek's last song faded there was a blaring and a wailing and a clashing and the lights went down as Amanda Palmer and The Grand Theft Orchestra strode into the room led by the piper and Amanda with a megaphone. They soon cleared a space in the middle of the room with people sitting on the floor shuffling around, some being handed torches to use as spotlights and the main lighting during the show. This was an acoustic show (other than the teeniest of baby amps for Jherek's bass), with Amanda's keytar, banjo and buckets and pans for drums. Amanda was in a cream silk dress with loose straps that kept falling down exposing her black bra (but we've all seen that before).

They opened with 'The Killing Type' from the new record with Amanda scraping a knife along a metal sharpener for some percussion while banjos were strummed an buckets thumped and Amanda's strong voice overlaying it all. It sounded great stripped right back. She then moved on to 'Trout Heart Replica' and used the knife to chop up a beetroot while Jherek's string quarter made the room swirl and her hands turned red with the beet juice. That was washed off with Amanda kneeling on the ground, hands together and she kept them together, almost tied at the wrist for her eerie version of 'Polly'... It was a very theatrical performance.

The theatrics continued with Amanda cross-legged on the ground one moment and then wandering round the crowd singing 'Walk On The Wild Side' with Princess Hans following with the megaphone. Amanda spread out sheets on the cold concrete floor to represent beds during 'The Bed Song', a touching song about a relationship growing cold and old as the participants grow and buy bigger and better beds but finally realise they left their love behind. It's a bit of tear-jerker as only Amanda can do. We were also given 'Idioteque', the 'Wallet' song and Neil Gaiman came on to sing 'Psycho' with Amanda leaning against his leg and lazily strumming her ukelele.

After the audience participation of 'Want It Back' Amanda ran up a few steps so all of us could see her properly and sang 'Ukelele Anthem' with a big grin all over her face. I was standing right beside the steps so had a great view. She then said she was nervous and would the reserved British take part in the next stage of the show... at which point she shrugged off her dress and undid her bra and was naked, raising her arms and asking us to take out the felt pens in our goody-bags and write on her. Of course we took part and, since I was already beside her, I was one of the first to write to my name on her left shoulder! She was giggling and jiggling away as more people crowded round to initial her, draw on her or just make a colourful mess. I moved out of the way to let others have their moment with a naked Amanda Palmer.

After the show she and Neil came out to chat, have their photos taken and sign stuff. As ever, there's never enough time to meet and greet everyone but I managed a few words with them and got the 'An Evening With...' CD signed and could wander off into the midnight streets to Old Street tube station. I didn't get a hug (drat!) but I'd written on Amanda's shoulder instead. How many people can say that?  A lot more after this tour, I'm sure!

Amanda Palmer & The Grand Theft Orchestra

Amanda Palmer's been busy recently what with going on tour with Neil Gaiman before Christmas and more recently with Bran Viglione as The Dresden Dolls but she'd now got some 'me' time. She's just released a new, re-recorded version of 'Polly' (she contributed a version to the Nirvana tribute album last year) which is available through her Bandcamp page for 50c + donation. She's also released a rather harrowing video to go with the song.



Of greater importance is the news today that Amanda is heading back into the studio to record a new album! She's recording it with her band, The Grand Theft Orchestra, that supported her on her tour last summer (and I saw at Heaven in September). She's recording it in Australia in a few weeks time after a couple of weeks of rehearsals and a week of live shows to get the songs just right. She reported that she had about 20 songs to choose from, many not played live before. She also says that there'll be synthesizers on the record.

I'm really looking forward to this record, her first full album since 'Who Killed Amanda Palmer' in 2008. Since then she's released some singles, the UkeleleHead record and 'Down Under' (and 'Down Under' has some excellent songs on it) but not a full album. I'm also assuming there'll be a promotional tour and lots of new merch.

Amanda's started talking about us, her fans, as her record label since she doesn't have one at the moment and doesn't seem to want one after her Roadrunner experience. She'll be crowd-sourcing what she needs for this record and I, for one, will be happy to contribute and buy pre-sales and whatever else. I assume that, since she's not tied to record label schedules that she can probably release the album in whatever format she wants, whenever she wants, so I'm expecting a summer or autumn release (that's my assumption, not Amanda's) even though not a single track has been recorded.

I'm really looking forward to this.