Skip to main content

Getting on With It.

My main focus for the past few days has been organising and promoting the on-sale dates for July's proposed return of Hitchin Mostly Comedy (provided the Delta COVID variant doesn't keep us on ice) and editing the second and third episodes of The McCartney McAlphabet.

Unsurprisingly, sales for Mostly have been cautious. I suspect they'll pick up once we know the Government's plans for 21st June onwards, but even bearing that in mind, the low take-up is concerning. I worry our seventeen-month closure could play havoc with a momentum we may never get back. And while we're prepared for our return to be a slow build, there's only so much we can juggle low figures when the club's not a cheap thing to run, and one too many loss-leaders will spell closure for us.

(What a happy cheery chap I am.)

The podcast, however, is lots of fun. Our first two episodes are now up, with number three being edited and four at planning stages. I'm really happy with how the first two came out and look forward to recording more. Editing can be laborious - as it always is - but we have a good system between us that helps spread the load. And I like that the shows are funny as I wouldn't want it to come over too anoraky. There's a lot to be said for not being over-earnest.

Sadly, I've had to make some big decisions regarding my plans for the summer. The work-in-progress dates I had in the diary for this month's Brighton Fringe had to go, and today, I cancelled the digs I'd booked for last year's cancelled Edinburgh that had been rolled over to this summer, as they needed answers I won't have for a while. I'm trying to be pragmatic and not overthink why I've cancelled. I know something has to shift. I'm still recovering from the upheaval of the last few years. And I'm also still trying to sell my flat, which isn't easy in a pandemic. When that's done, a chapter will close, if not a whole book. Here's hoping for a more upbeat sequel, or even a reboot. I'm not past being recast as long as I can find a suitably battered actor to play the part. I wonder if Clint Eastwood's available?

Popular posts from this blog

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

"Speaking Words of Wisdom, Let it Shine."

Tonight saw the second instalment of BBC1’s latest advertise-a-musical-for-months-and-then-cast-it-with-performers-too-inexperienced-to-do-it-a-thon ‘Let it S̶h̶i̶t̶e̶ Shine’ (or as I call it: ‘REAL AUDITIONS ARE NOTHING LIKE THIS’). I didn’t watch it (clearly), but being reminded of how angry seeing just five minutes of it made me last week caused me to mull over what I would call a musical based on the band’s songbook, if I was responsible for it. Here are a my suggestions: IDEAS FOR TITLE OF A TAKE THAT MUSICAL: Barlow! Dirty Fat-Dancing Orange! A Million Love-changes-everything Songs Owen! Howard's End Pray Misérables Mamma Marka! Babe (with a pig as the lead) …BUT MY FAVOURITE HAS TO BE: Jason & His Amazing Technicolour Dreamcoat. "It was Orange, Orange, Orange, Orange..." (TAKE) THAT’S ENOUGH OF (TAKE) THAT.