'Hair' and a Farewell to Gavin Creel

Wednesday 1 September was Gavin Creel's last appearance as Claude in 'Hair', so naturally we had to be there to say farewell, with Gareth only two seats away in the same row. We were smack bang in the middle of the row so I suffered some anxiety about exiting in time to reach the stage but, luckily, the hippies soothed my furrowed brow. We also had a new Woof tonight in the form of Matt DeAngelis giving it some good howl and Micky Mick moves.

Steel Burkhardt has really grown into the role of Burger and it's his now, flirting with the audience and, well, anyone with a pulse, picking on a blond bloke in the front row to be his 'mother' only to realise he was far too tall to kiss when
he stood up. Darius Nichols was, as ever, a sex beast ready to do anyone who lets their guard down and, amazingly crawled out to row L during 'Hair', fondling everyone in arm's reach - that's what I call stamina.

Of course, it was Gavin's big night and he got a great reception for 'Manchester England' and an even bigger response to 'I Got Life' that he clearly put his heart and soul into the song to the extent that he had to signal to the audience to stop clapping so the show could continue. And then, at the reprise, the rest of the cast stood to applaud him as well. The energy was flowing and he was at the centre of it. Then, with 'Hair', both he and Steel stripped off their tops to great applause and launched into the title song. Of course, that's what I look like without a shirt but I choose to be a bit more respectable.

It was going so well until we got to Gavin's next big song, 'Where Do I Go?' when Gavin got through the first line and then the emotion got to him and he couldn't sing. He got the Tribe to sing the next few lines to get him going and then he delivered a touching and heartfelt version of the song as the Tribe stripped behind him with all eyes on Gavin. After playing the role for so long it was obviously a difficult song to sing.

Since I've seen the show a few times before, it's easy to find the eyes wandering round the stage watching the other characters when they play supporting roles as members of the Tribe to make the whole performance work. I was really impressed with Kacie Sheik (pregnant Jeanie, goddess of the Lower East Side) and Allison Case (Crissy, originally played in London by Sonja Kristina) who never stepped out of character, even when at the back of the stage, still playing it for real. Allison delivers the definitive version of 'Frank Mills', so sweet and tender, and no, I wouldn't want the $2 back either.

Anyway, back to Gavin, who got through the rest of the show in solid fashion and got a standing ovation on his joining the rest of the cast at the end. But that always happens since it's such a great production. And then we all try to invade the stage, except we failed tonight since too many people were already up there (including Gareth) by the time we reached the steps - that's the problem of having great seats in the middle of the row. Still, we stood in front of the stage singing and clapping along and then Cassie Levy stepped forward to make an emotional speech thanking Gavin for being their leader in the show and in the cast while he was clearly touched and welling up. That was a nice touch. He came down from the balcony to join in the fun on the stage before, no doubt, leaving for the after-show party.

So that was my end to 'Hair' part 1. Part 2 comes on Saturday when the show closes. Luckily our seats are only two in from the aisle so we stand a good chance of being fondled by a hippy and getting a flower and invading the stage will be easy-peasy. I shall wear The Most Beautiful Shirt In The World, covered in hippy rosebuds, and sandals. I also need to weave some shiny beads into my beard and maybe some glitter. A final night must be celebrated appropriately.

Thank you Gavin, and all the best for the future.

The Unthanks do Robert and Antony

A message from Rachel and Becky Unthank:



The Unthanks: the music of
Robert Wyatt and Antony & The Johnsons

“I am flattered and mystified! Their voices are so pure.” Antony Hegarty
“I love the idea. It makes me happy just thinking about it” Robert Wyatt

December 8th and 9th 2010
The Union Chapel, London
Compton Terrace, London N1 2UN
www.the-unthanks.com www.qujunktions.com
7pm Tickets £15 adv
www.ticketweb.co.uk www.unionchapel.org.uk
ON SALE FROM MIDNIGHT TONIGHT!
On the tide of three beguiling albums to date and countless tingle-inducing live shows, The Unthanks (formerly Rachel Unthanks & The Winterset) have become the unassailable key voices of contemporary UK folk. For two nights only, Northumbria sisters Rachel and Becky Unthank and their band take two of the most adventurous songbooks of the last half-century and, in the true spirit of the idiom they honour with such vitality, paint them in vivid new colours across the Union Chapel. The special pre-Christmas concerts will feature a set of Robert Wyatt music and a set of Antony & The Johnsons songs, either side of an interval.

“It’s just a whim really, though we’ve thinking about it for a few years now,” says The Unthanks pianist and producer Adrian McNally. “We don’t intend it to be a major artistic accomplishment or statement.. we’re just looking forward to becoming even more intimate and fascinated by music that we love and respect. It means the world to us to have their blessing and approval. We’ve got a bit of a nerve associating ourselves with such beautiful men, but it’s the music and words we want to learn from and share with other people. Maybe it’s not possible to perform without ego, but Robert and Antony exclude so much commitment and integrity in their music, their conversation with the human condition seems entirely selfless to me. There is never a spare note played or one struck to impress. They appear entirely consumed with the search for beauty and truth in a way that nourishes our anthropological souls and reflects how we feel about folk music in its broadest sense.”

These unsentimental young storytellers outside of time have long found kindred energies in the proudly maverick English soul of Robert Wyatt, and this was finely evidenced on their heaven-sent cover of his “Sea Song”, one of the real jewels of Mercury Music Prize nominated second album “The Bairns” and regarded by Wyatt as the finest interpretation by another artist of his songs. Robert does not perform live, so bravely, with Robert's blessing, The Unthanks will cherry pick from his indefinable and peerless repertoire to a live set they hope to do justice. Similarly, hearts have been hauled out of open mouths by The Unthanks stunning duet rendition of Antony’s “For Today I Am A Boy”, still as yet unrecorded.

The Unthanks, like Robert and Antony, aspire to the timeless energies and beauty that can be conveyed/released in a song. These two essential occasions see unlikely musical bloodlines flow ever clearer and more direct, as The Unthanks continue to fashion unlikely folk standards from across the idiosyncratic landscape of modern leftfield songcraft.

Buffy Sainte-Marie - 'Darling, Don't Cry'

Some mighty powwow singing and dancing in this video and is that Red Bull behind Buffy? I remember seeing Buffy singing this in Belleville, Ontario, a few years ago and the whole hall erupted with powwow singing from the Native Americans - to be surrounded by powwow was an amazing experience.

'Into The Woods' at Regent's Park

After being rained off the first time, we went back to the Regent's Park Open Air Theatre to see 'Into The Woods' on Friday night and guess what? No rain! Phew! And what better place to see 'Into The Woods' than in an open air amphitheatre at night with a backdrop of tall trees surrounded my miles of trees and parkland?

The set is made up of four levels of walkways build between the tree branches on three sides and the audience on the fourth side. The lighting was well thought through and executed, sometimes focusing on the actors and other times lighting up the trees swaying in the breeze. The sound worked well, too, and just as well since it's a musical.

We're introduced to the characters who are all from fairy tales, princes and a witch, Cinderella, Jack, Little Red Riding Hood and all the rest. They all have to go into the woods for some reason or other, the woods taking them out of their ordinary lives and adding menace and adventure, for good and bad. The first half tells the stories we're used to with Cinderella meeting her prince, Little Red Riding Hood escaping the wolf, the ugly old witch becoming beautiful again, Jack escaping the giant and the Baker and his wife lifting the spell that kept them childless. The second half then explores the consequences of what happens in the first part, like the princes becoming bored with their respective wives, Cinderella leaving the palace because, after all, she's not really a princess and, worst of all, the giant's wife (voiced by Judi Dench) visiting the kingdom seeking revenge on Jack. Death and mayhem ensue when you follow stories through to their logical (or illogical) conclusions.

This production was imbued with all the magic and wonder missing from 'The Tempest' at the Old Vic and I loved it. Using a runaway boy as the narrator is a great idea as the action takes place around him, with him half predicting what happens and half a helpless observer. I thought all the cast were excellent, with great voices and great timing. I loved Beverly Rudd as Little Red Riding Hood and her nemesis the Wolf, played by Michael Xavier (who also played the older prince) in a fun seduction scene prior to consuming his dinner in red. I loved the two princes, always rushing round a-hunting, sibling rivalry in their love-lives and the little jump they made before rushing off.

Hannah Waddingham was great as the Witch, menacing in the first half with her walking sticks and ugly face before transforming back into the beauty she was in her youth. I saw Hannah in 'A Little Night Music' at the Chocyy Factory a few years ago and her voice is as lovely as ever, tender and harsh by turns when she sings to Rapunzel.

I've also seen Jenna Russell before, in 'Sunday In The Park With George' at Studio 54 in New York, another Sondheim musical. She played the Baker's wife with some great comic flourishes as well as her excellent voice. Actually, I thought they all had excellent voices, perfect for their roles - a recording with this cast would be a great idea but, sadly, unlikely.

If you get the chance, go and see it. It's on for another couple of weeks (rain permitting) and you're unlikely to get the chance to see it in the woods again... There was a nice touch at the end when we finally learn that the Baker is ... well, I'll leave that for you to discover for yourself. Needless to say, I loved this production. Take a look at the clip below and then book your tickets.

The Dresden Dolls - 'Mein Herr'

To celebrate Amanda Palmer's 'Cabaret' in Boston, here are those punk cabaret raggamuffins, The Dresden Dolls, performing 'Mein Herr' four years ago at The Roundhouse. I was there y'know. O Yes.

'Deathtrap' at the Noel Coward Theatre

Last night we went to see 'Deathtrap' at the Noel Coward Theatre with the ever-watchable Simon Russell Beale as the central character, a writer of plays in the thriller genre. And that is what 'Deathtrap' is, a thriller, but with an awful lot of comedy in there as well. Simon's sidekick in the other central role is Jonathan Groff from Americaford and a TV series called 'Glee'. Now, I haven't seen a single episode of 'Glee' so I've no idea what he's like but there was an inordinate amount of young women in the theatre squealing and, no doubt, wetting themselves in excitement at seeing their hero on stage. I had three of them sitting beside me so I felt their joy first-hand.

I've never seen the play before but have vague recollections of the film with Michael Caine and Christopher Reeve but I suspect I never saw the film all the way through. An ageing playwrite has run out of ideas and is sent a draft script by a former student that is a sure-fire Broadway hit. What can he possibly do except kill the student and claim the play as his own. I won't say any more to avoid spoiling the surprise (and I was more than surprised, I nearly jumped in shock) but the first half is very good with its plot twists and turns. The second half is less convincing since the major plot device was exposed in the first half and it rather spirals and bumps along rather than anything else. Especially the end - they need to do something to signal the play has ended so we can start clapping (it's still in preview so hopefully they'll fix that). Still, I thoroughly enjoyed it and it's a good night out.

Simon Russell Beale was, of course, excellent, with the right amount of comedy and menace. He certainly out-acted Jonathan Groff who seemed rather reactive and tentative to me - or maybe that's how he's supposed to play it? He had a really annoying habit of brushing his hair back from his face with his hands all the time - um, it's not that long y'know, it's not in your eyes and it looks very affected so stop it. The other roles were played by Claire Skinner (in an awful brown trouser-suit thing to date it in the '70s), Terry Beaver and the excellent Estelle Parsons as a generic European in America who happens to be psychic and predicts the rest of the play ... or does she? I thought she was great fun throughout.

Paul Smith - Tour and First Single

Important message from Paul Smith:

So, it comes to pass that I test the Wayne's World 2 theory of 'book the shows and they will come'. If you'd like to see me play the songs from Margins then have a look at the tour dates below. Tickets go on sale Thursday 26th August at 9am.

November:
26th - Bodega, Nottingham (TICKETS)
27th - Brudenell, Leeds (TICKETS)
28th - Glee Club, Birmingham (TICKETS)
29th - Thekla, Bristol (TICKETS)

December:
01st - Bush Hall, London (TICKETS)
2nd - Deaf Institute, Manchester (TICKETS)
3rd - Classic Grand, Glasgow (TICKETS)
4th - Sage 2, Gateshead (TICKETS)

I've been waiting to play these songs live for a while now so that should ensure an excitable performance although the songs will require a different execution to those of Maximo Park; less frenetic movement but no less emotion or commitment. You have been warned!

To drum up support for the tour I'm going to dip my solo toes into the world of the single and put out Our Lady Of Lourdes on November 1st, a toe-tapper and a grower, I'm told by my pals. On the 7inch vinyl, there's a new song based on a guitar loop, called, cunningly, Loop For Becca. Digital customers will get my version of the Arthur Russell classic, A Little Lost, which consists of just my voice and the first recorded example of my inexpert bass-playing.

You can pre-order the album here from Amazon. Spread the word, people - I'm coming to a town near (ish) you!

Paul

Naturally, I shall be at Bush Hall, probably at the back near the piano, but there will be lots of 'wooh!' and 'yay!' sounds coming from that corner of the Hall as well as loud clapping. I am looking forward to the album immensely and keep playing the freebie song, 'North Atlantic Drift' - if the rest of the album is anything like this song I will be very happy indeed.

'Grace Of My Heart' at The NFT

This evening Chris took me to see 'Grace Of My Heart' at the National Film Theatre (or BFI Southbank as it tries to be called). I've never seen it before but know it's sort of based vaguely on the life of Carole King in the '60s up to the release of 'Tapestry' - or 'Grace of my Heart' as it was called in the film.

I enjoyed it even though it threw in every possible '60s pop cliche imaginable, sex and drugs and rock n roll - well, pop. Lots of different hair styles and clothes, musical styles. It makes a valid attempt at demonstrating the massive social change that happened in one particular decade but it didn't really follow through in how social attitudes changed - the main character was as liberal in 1960 as she was in 1970 so there was no growth or development, only a shortening of the dress and more thigh on show. And, on the men, more hair.

I quite liked one of the themes of the film, to pair songwriters from the '60s with songwriters from the '90s, like Elvis Costello with Burt Bacharach. They make such a more interesting sound than if it had been a '60s set.

If you get the chance, go and see it. It's well worth a couple of hours of your life. And, because it's at the NFT there are no pre-film adverts! A bonus in anyone's book.

Our Lady J and Her Gospel for the Godless

On Thursday night we went to see Our Lady J in her new show, 'Gospel for the Godless', supported by her London Train-To-Kill Choir (aka the London Show Choir). As a self-confessed post-transsexual pre-Android princess she has the stage presence she needs to carry a show but, more, she has the sheer talent to produce the goods and make us live in her world of the gospel electric. She was magnificent and held the audience in her hand from the first song.

She came on stage and sat behind a baby grand with chunky church candles adding a glow to the proceedings, Mac and electronic keyboard within reach and two microphones to electrify her voice for some of the songs. After a couple of songs she started chatting to us and the choir came on for the first of their several visits. Timing was perfect and the choir added both a lustiness and an ethereal quality to the music and performance - Our Lady J has worked with them before and I was most impressed. The only downside came at what should have been half time and Our Lady stayed on stage to play and conduct the choir's solo song since their leader was off - that meant she didn't have the chance to go off and change into her second half frock.

I liked listening to her stories of growing up in a family that only had records of classical music and pre-1960 show tunes and how her older brother was made to shoot his CDs when their parents discovered them. How she organised Boob-Aid to raise money for her (impressive) new boobs with help from the Scissor Sisters and Dolly Parton amongst a host of others. How she ran away from home at the age of 16 the only way she knew how - by getting a college scholarship. Most entertaining!

Of course, with Our Lady J, it's the music that comes first and it was great to finally hear her singing the songs from her EP live as well as the totally infectious and camp, 'Pink Prada Purse'. I loved 'Picture Of A Man' and '1, 2, 3, 4 Train To Kill' (with everyone joining in on the chorus). My jaw dropped audibly with a mighty *thunk* when I recognised the opening sequence to Buffy Sainte-Marie's 'Little Wheel Spin And Spin' played quickly. I sort of expected it to then morph into another song but no, Our Lady played the song right through in High Disco style, turning it into an infectious disco classic - and, you know what? It worked! It was astonishing to hear an acoustic song transformed in her careful hands into a mighty disco stomper. I was amazed. Another favourite was 'Hurt' from her new album with the Choir joining in and building the song into a touching, magnificent, sonic edifice. I loved it.

After the show we joined the queue to say hello and get a signed copy of the EP (a doubler of the original EP plus both versions of 'Pink Prada Purse'). When my turn came I had to mention 'Little Wheel' and Our Lady seemed delighted that I'd recognised it and liked it and then she went on to say that Buffy Sainte-Marie had started producing dance music like 'No No Keshagesh' and we were off and running talking about Buffy. It's nice to meet another enthusiastic fan. And, best of all, her disco version of 'Little Wheel' *will* be on her new album. I can't wait.

Our Lady J has been at the Soho Theatre for two weeks and is now off to Ireland before heading home to America to finish her record. Hopefully she'll be back when the record is released so watch out for her next shows - you must go to see her, you might be surprised but you won't be disappointed. I'll be there.

Cee Lo Green - 'Fuck You'

The new song from Cee Lo is pretty damn fab - yes, I know, I'm shocked at the language as well but I'll sure I'll get over it. Clever words and a killer tune - go on, have a listen!