Daphne Oram's Wonderful World of Sound was great fun, and as great a success as we could have hoped for. Thanks to all who came, supported, and gave feedback (which was generally very positive). Now we will be developing the project further at The Tron Theatre as parts of Tron Labs.
Thanks also to Leonie Rae Gasson who captured some great images for us:
Thoroughly looking forward to tomorrow's show. Our last devising session on Friday was really productive and we've got a really interesting piece to share with folk. There's science and spirituality, crazy sounds and marvellously naff 50s costumes.
Saw Filter's Macbeth at the weekend, there. Cracking. No set apart from strange DIY instruments for the ensemble/weird sisters in the centre. Playful, anarchic, deconstructed, funny and yet...it really honoured the text...and the text really came through. No mean feat.
So, the last couple of weeks I've been working on a piece called 'Daphne Oram's Wonderful World of Sound'. It's been the most fun I've had in a rehearsal room in a long time - devising stuff, physical stuff, abstract stuff. The sort of stuff I love. We're telling a story, of sorts, about a woman who moved electronic music forward in a time when few men (and fewer women) were doing so. Trying to find a physical language that works with the sounds of the time and compliments Daphne's words has been challenging, but it's a project I'm really exctied about. It's early days, but the first showing of our work will be a short performance at The Arches next Wed (28th) at the Scratch Theatre night. Do come along!
The Tron Theatre have a new initiative called 'The Tron 100 Club' of which I am a member. It's a great idea: bringing lots of creatives (100 of us, don't you know) together for panel discussions, workshops and the like. Today I was at an incredibly interesting session with Cora Bissett, who talked us through her process when she's devising and creating theatre.
At the Edinburgh Festival last year I decided that when I grew up I wanted to be the Gallic-looking chap that plays the Breton pipes from Song of the Goat. But now I want to be him with Cora Bissett's ability to make theatre.
My good friend Paul Brotherston has asked me to be involved in an new project. It's early stages and I'll say no more than that, but it's a cracking idea, and a very exciting prospect. The artwork (Mihaela Bodlovic \\ AliceBoreas Photography ) is pretty snazzy too:
Last week I received my degree from the RCS. I was thoroughly happy (and proud) to get a distinction, and I enjoyed the ceremony. I gave up my day job to do the course. Hard work getting there, hard work over the 52 weeks. So, donning the gown and collecting my scroll was a pleasant culmination of all that, and it felt worth it.
Yesterday I worked with the Twin City Pictures guys on a short film called 'Flower'. We managed a 3hr shoot in Kelvingrove Park in October with nothing more than the occasional curious dog for interruptions, and then within minutes of wrapping the heavens opened - nicely timed! The sickeningly talented Tom Duncan, who wrote and directed, gave us a preview of some shots - it's looking great.
Saw 'Tomorrow' by Vanishing Point at The Tramway two weeks ago. Blew me away. What a company. I thought of Edwin Morgan. I thought of Dylan Thomas. I chortled, wept, belly-laughed and sighed. Just great.
My site is now up, running and fully functional - just in time for the opening of 'New Works' which is the culmination of my year at the Royal Conservatoire of Scotland doing my Masters, which opens tomorrow...
I play Michael - an ambitious politician with a secret - in 'Blind Eye' by Isobel Wright. The other shows are 'White Ted & The Right To Die' by Jo Clifford, and '1914 Machine' by Claire Duffy. All the best to my colleagues in those shows too.
We're in Glasgow this week, London next, and Edinburgh the week after that.
Info and tickets for shows available on the homepage.