And Then They Watched The Sunrise

Because of the hours I was working for this year's Dublin Fringe, I didn't get to see quite as many of the shows I'd like to. As it happened, the only two non-Spiegeltent productions I managed to catch were both by new Dublin-based group TheatreCLUB and, thankfully, they were fairly decent.

Rough, an original play written and directed by Grace Dyas, serves as a meditation on adolescent alienation. Two teenage girls (Roxanna Nic Liam and Aoibhin Garrihy) recount tales of meaningless sex, binge drinking, self-loathing and "sitting at home, reading your Sarah Kane". The play simultaneously acknowledges the futility of the girls' behaviour while capturing the compulsion for them to continue the cycle of self-destruction. I especially like the murky script's subversion of Doireann Coady's girly-girl stage design that featured evening-wear dresses, mirror frames and lingerie.

Dyas is also director of Group Therapy for One. A drastically different experience to Rough, this production involves audience members convening at O' Connell Bridge before catching a bus to protagonist Shane Byrne's Harold's Cross home. Seated in Shane's 'first kitchen', we are privvy to his one-man group therapy session as he tries to identify the reasons behind his inability to work to deadlines or his fears of finding himself forced to make small talk. Shane's sharp humour and some clever devices help prevent the piece from lapsing into trite self-indulgence, and the ending, well, it's just lovely.

Last yeat I somehow managed to catch every dud show in the Fringe but it seems I made better choices. Group Therapy for One wound up having to extend its run, due to the overwhelming demand for tickets (and presumably a lack of objections from Shane's family in relation to surrendering their 'first kitchen' for another evening). Meanwhile, 'Rough' scooped the third annual Fishamble New Writing Award, meaning writer Dyas will receive a €1,000 bursary towards her next script.

As I mentioned before, Dyas will be directing 'Market Research This', a script by fellow hot prospect Shaun Dunne early next year. Keep yizzer eyes peeled for more details.

[Images: Sarah Cramer]

Turn Me On With Your Electric Feel...

Knowing that I would most likely be flat broke by the time September rolled around, I got my ticket for Electric Picnic way back in March. I experienced the Picnic for the first time last year and was determined to make it back this year, no matter how circumstances conspired to have me stranded in Dublin.

Unfortunately, because of work, by the time I down to Stradbally and set up for the weekend, I'd managed to miss Lykke Li, The Temper Trap and a few others. There was nobody else I particularly wanted to see, so I spent most of Friday just wandering around and getting my bearings for the weekend.

On Saturday, I kicked things off with The xx. The London four-piece's debut album has already nestled itself among my favourites of this year but I was doubtful of their ability to cut it live after hearing reports that they 'lacked presence' on stage.

While its true that the band essentially stood still for the entirety of the set and banter was kept to a minimum, I really didn't think this detracted from their performance. If anything, cracking jokes and leaping around the stage would have jarred with the tone of their music. The chemistry between vocalists Romy Madley Croft and Oliver Sim was just as apparent as on record and, even if on a superficial level there wasn't much to see, I couldn't pry my eyes from the stage.

Next up was Marina and the Diamonds, who, you may have noticed, I've been ferociously championing on this site. I've forced my obsession with this woman upon everyone and anyone over the past few months so, if she'd failed to deliver, I might have had some explaining to do.

Thankfully a stonking performance from Marina got me off the hook and helped her to win over a number of new fans. Prowling the stage in an outfit she repeatedly warned us could lead to 'camel toe', La Diamond performed a number of tracks likely to feature on her forthcoming debut album, including 'Obsessions', 'I Am Not a Robot' and 'Mowgli's Road'. She seemed a little surprised by the crowd's enthusiasm and promised us 'Emeralds' she'd be back in November for a couple of gigs.

The cancellations of Bat for Lashes an ESG led to a re-shuffle in my Saturday evening schedule but I managed to find some worthy substitutes. I'd be lying if I said my memories of The Whitest Boy Alive and 2 Many DJ's weren't a tad hazy but I remember enjoying both sets.

Klaxons, meanwhile, offered a glimpse of an intriguing change of musical direction. There was a drastic difference between new tracks and the songs from their Mercury-winning debut and they seem to have ditched the 'nu-rave' clothing and glowsticks, even if their hardcore fans at the front didn't seem as willing to let go...

Irish act Villagers kicked off my Sunday morning in a wonderful fashion. Conor O' Brien's new vehicle have been the subject of much hype since emerging last year and it's completely justified. Backed my some fantastic musicians, Conor's soaring voice filled the Crawdaddy tent and lifted spirits during one of the soggiest periods of the weekend.

Next on my hitlist were Simian Mobile Disco, who had the misfortune of preceding Florence and the Machine in the Electric Arena. The duo tried to keep things interesting with some emphatic knob-twiddling and an impressive light show but the set never quite seemed to take off. The fact that the front few rows were made up of hardcore Flo fans, eager to get a good spot, probably didn't help their case.

Having been blown away by Florence and the Machine at Oxegen, my expectations for their set this time around were fairly high. If anything, they raised their game even higher. Flame-haired singer Florence Welsh seems to be growing in confidence at a ferocious rate and she wears it well. Her movement was mesmerising, the set-list was spot on and her vocal delivery was nothing short of roof-raising. I honestly can't remember seeing an audience left so stunned by a performance.

I solved the dilemma of choosing between Royksopp and Passion Pit by catching half of each of their gigs. In some respects, this might have been a mistake because I wound up some distance away from the stage on both occasions. That said, both bands delivered strong sets. Royksopp expertly tailored their material for a live setting and used a combination of clever visuals and props (including a life-sized robot for 'The Girl and The Robot') to elevate their performance.

Passion Pit, meanwhile, overcame technical glitches to deliver a set that was, by all accounts, a drastic improvement on previous gigs they've played on these shores. Singles 'Sleephead' and 'The Reeling' induced mild hysteria in the crowd and Michael Angelekos's bizarre falsetto was fascinating to behold.

The last performance of the weekend I caught was Basement Jaxx, whose hit-heavy back-catalogue helped them provide a cheesy but highly danceable big finish. Their set may not have been one of the memorable of the weekend but at least they were one of the few acts to avoid being swallowed by the Main Stage.

I've heard a few gripes about this year's Picnic being less fun as previous years but, honestly, I think maybe the mucky conditions impeded some people's enjoyment of the weekend. In terms of this year's line-up, the organisers certainly can not be faulted and you can bet your smelly wellies I'll be back for more of the same next year.

[All images: Heineken Music]

Bruno

I was lucky enough to be able to attend an advance preview of 'Bruno' tonight courtesy of the lovely folk at Movies.ie.

I was never a huge fan of Ali G and didn't bother going to see 'Borat' so, in truth, I probably wouldn't have paid to go see this movie if I hadn't won the tickets. That said, I very much enjoyed 'Bruno' for what it was and I think Sacha Baron Cohen is nothing short of brilliant in the role of disgraced Austrian fashion-expert Bruno.

I found myself wincing with embarrassment as the character finds himself in increasingly awkward situations, whether it be making sexual advances on Republican presidential candidates or telling a chat show audience that he swapped an Ipod for an African American baby.

If you're looking for something tasteful or cerebral, look elsewhere, but if you're in the market for an hour and a half of laugh-out-loud ridiculousness, Bruno's your man.

Verdict: Ich like it very much.

The Challenge

...in which our hero attempts to review La Roux's album without drawing a single comparison between the band's vocalist Elly and any other up-and-coming female singers.

Here goes.

La Roux's recent synth-laden single 'In For The Kill' caused something of a fuss when, despite little support from radio, it conquered the UK charts, shifting half a million copies along the way. With follow-up 'Bulletproof' currently sitting pretty atop the UK charts and top ten here in Ireland, La Roux appear to be delivering on the promise that led them being ear-marked as 'one to watch' in a spate of 'Sound of 2009' previews last December/January.

Although La Roux are in fact a duo, producer Ben Langmaid has chosen to stay out of the limelight and allowed singer Elly Jackson be the 'face' of the band. Jackson's androgynous appearance and unusual voice have divided opinion and her bolshy conduct in interviews has ruffled more than a few carefully-preened feathers.

Her disparaging comments regarding the state of mainstream pop music have seemingly caused particular offence. Having claimed that there is a lack of originality in modern music, there is a certain pressure now for her and Ben to prove they are more than just the product of some faddish 80's festishism with their self-titled debut LP.

Thankfully, the cynics can put their knives away because Ben and Elly have delivered a near-flawless collection of electropop ditties that should see them set up residency alongside the "music for kids, novelty tracks and one-hit-wonders" that Elly claims have a monopoly on the charts.

I suspected that perhaps the band's tinny electronica and Elly's shrill falsetto might wear thin over the course of a whole album but there is enough diversity of style and tempo here to keep things interesting and Elly showcases some unexpectedly versatile vocal abilities.

The album documents the course of a relationship, from itz brazen beginnings ('In For The Kill', 'Quicksand') through to its acrimonious ending ('Fascination', 'Armour Love') and all that comes in between. Allegedly, the songs are based on a five-year relationship that Elly was involved in and rumours abound that she frequently broke down in tears after recording sessions.

Thankfully, however, the album steers clear of mawkish sentimentality, with the exception perhaps of token big ballad 'Cover My Eyes', which sees Elly's fragile voice offset against a gospel choir.

If I was to make one criticism about this record it woulbe be the unnecessary re-working of upcoming single 'I'm Not Your Toy'. A demo of the track surfaced a few months ago and it sounded fantastic but, for whatever reason, the track has been tinkered with and now resembles a midi ring-tone in parts.

However, 'La Roux' is, simply put, a brilliant pop album from beginning to end and one I suspect will nestle itself alongside 'Two Suns', 'Ten Makes A Face' and 'Junior' as one of my favourites of 2009.




[Image: Last Fm]

What Time Is It, Mr. Wolf?

Patrick Wolf's new album, 'The Bachelor', can currently be previewed in full on his Myspace.

I've always been a big fan of Wolf and his previous three records are firm favourites of mine. However, lead single 'Vulture', with its grotesque lyrics and equally grotesque video, nearly killed my enthusiasm for this release. After hearing the album right through, I'm pleased to report that it's not as bad as I feared.

Even if 'Battle' comes perilously close, there's nothing else quite as bad as 'Vulture' on the record and my theory that Patrick is slowly morphing into Boy George is most likely unfounded. 'The Bachelor' is unlikely to receive as high rotation on my Itunes as previous efforts but it does have its moments.

My personal favourite of the new tracks is 'Oblivion', one of three tracks to features English actress Tilda Swinton in a spoken word role as 'The Voice of Hope'. As prententious as this might sound, it actually works quite nicely.

Forthcoming single, 'Hard Times', is another highlight although the fact that it sounds like a remnant from 'The Magic Position' makes me hanker for a whole album matching the calibre of that record.

'The Bachelor' has flashes of brilliance but, ultimately, falls short of the standard I've come to expect from Wolf. Let's hope that companion record 'The Conqueror', due next year, doesn't fall victim to the same peaks and troughs.

[Image: Myspace]

Telepathique

For my birthday, the lovely Eimear got me a ticket to see New York scenesters Telepathe at The Academy on Tuesday (greatly appreciated because I can barely afford to eat these days...)

After the Lily Allen debacle, when we arrived three quarters of an hour after doors had opened only to discover that the support act La Roux had come and gone, we turned up at The Academy reasonably early. We needn't have bothered on this occasion, however.

As we arrived, we were ushered downstairs to 'Academy 2', a performance space much smaller than the venue's main stage, where a handful of people were listening to Wallis Bird's album playing over the sound system.

Gah.

Things took a turn for the worse when support act Neosupervital took to the stage, armed with some gobsmackingly clichéd lyrics ('If you want to be real, gotta do what you feel/If you want to be true, gotta do what is you'). Needless to say, the cooler than thou hipster brigade that constitute Telepathe's core fanbase weren't especially appreciative.

Let's go for a cigarette, Eimear. You smoke. I'll watch.

By the time Telepathe's Busy and Melissa began setting up at 9:30, a crowd of no more than fifty had gathered (it's safe to say they won't be troubling The 02 any time soon). Keeping on-stage banter to a minimum, the pair promptly launched into 'Chrome's On It'.

And suddenly, it all came good.

Despite lighting so dim we could barely make out the duo's boyish silhouettes and practically no audience interaction, Telepathe were completely captivating. I was completely in thrall throughout their three quarter hour set as they operated an array of electronic synthsizers and percussive instruments, all the while chanting eerily in synch. By the time they closed on indie anthem 'So Fine', even the most po-faced hipsters were shaking their, er, hips.

On a couple of occasions, the girls' vocals were overwhelmed by their bass-heavy backdrop but, nonetheless, it was abundantly clear that Telepathe's genre-melding tunes are best enjoyed in a live setting. Even if their music isn't 'your bag', if they crop up at any festivals you attend this summer, you'd be well advised to check 'em out.

[Image: Briana Purser]

Watchmen Review

I always try to discourage those unfamiliar with the Harry Potter books from watching the films that have been adapted from the series. As accompaniments to the books, I find the movies a fantastic addition to the franchise but, as stand alone films, they don’t give anywhere near as good an insight into the wonderful world of Hogwarts as JK Rowling’s original novels.

Ten minutes into ‘Watchmen’, I begin to suspect that familiarising myself with the graphic novels upon which the film is based would have been similarly advisable. Despite a valiant attempt to explain the backstories of the various characters in the opening sequence, I get the distinct impression that there are many details that have been omitted to prevent the film stretching any longer than its hefty 162 minute runtime.

Set in 1985, ‘Watchmen’ tells the story of a group of ageing American former-superheroes that are forced back together after the mysterious death of one of their peers at the time of an intensified threat of nuclear attacks from the Soviet Union. As well as trying to grapple with an increasingly challenging present, the group must also face up to secrets from a fractured past that have festered for two generations of ‘watchmen’.

There were several failed attempts at turning Alan Moore and Dave Gibbons’ original story into a movie before Director Zach Snyder stepped up to the plate. Snyder should be commended for finally bringing the story to the silver screen but, although visually stunning, the final product is unlikely to excite the same universal acclaim as its source material.

The challenge of making the film accessible to those unfamiliar with the world of The Watchmen while also being mindful not to patronise ardent fans of the series appears to have overwhelmed Snyder and his team. As a result, despite occasionally verging on greatness, ‘Watchmen’ ultimately does not stand on its own.

[Image: Sci Fi Pulse]

Heavenly Bodies?

(published in Campus Magazine, February 2009)

The controversial BODIES exhibition began its residency in Dublin City's Ambassador Theatre last month. The exhibition, showcasing preserved human remains in various states of dissection, first opened in Florida in 2005 and toured extensively prior to its arrival on our dear O' Connell Street.

BODIES has been the subject of much debate since its conception. Even before its U.S. premiere, there was a campaign to prevent it opening because of doubt over the exact origins of the exhibits. It has been alleged that the bodies on display are those of executed Chinese prisoners and an ABC documentary about the exhibition prompted the resignation of the CEO Premier Exhibitions, who run the exhibition. Premier’s website currently displays a disclaimer, admitting that they cannot prove the exact origins of all exhibits.

Despite reservations about the morality of BODIES, my curiosity got the better of me and I decided to check it out. The exhibition is unique in that, rather than displaying the remains in jars of formaldehyde, the limbs, organs, bones, veins and arteries have been 'plastinated'. As the name suggests, this process involves substituting plastic for water and fatty acids to prevent the body’s decay.

Some specimens have been manipulated to appear as though they are playing volleyball or conducting an orchestra, revealing the effort required by muscles and bones to perform these tasks. Other exhibits show the impact of alcohol and tobacco on our internal organs (a box for depositing packs of cigarettes is thoughtfully placed next to lungs that have been ravaged by smoking-induced cancer.)

One section featuring several foetuses in various stages of development is preceded by a warning that suggests those exhibition-goers of a sensitive disposition might want to skip this part of the exhibition.

BODIES will no doubt prove as divisive here as it has elsewhere and, if you’re prepared to ignore the ethical question marks, it‘s worth paying a visit. The real problem with the Dublin exhibition, however, is the choice of the Ambassador Theatre as its host. The venue is simply not big enough and, with exhibition-goers cramped into such a small space, there are often too many living, breathing bodies between you and the exhibits.

Student tickets for BODIES… The Exhibition are €16 and available from www.bodiesdublin.com

[Image: Day Life]

"This Real Nice, This..."

Tonight, I went to see Trinity College's DU Players' production of Enda Walsh's 'Disco Pigs' and found it a very humbling experience.

Last year, I directed a version of the same play in DCU and, although I was extremely proud of the production at the time, I'll willingly admit that Players staged a far more innovative and accomplished production.

The two actors were no more talented than the cast of the DCU production but Tara Robinson's direction was infinitely better than my own. Her use of lighting was genius and the slick choreography of the actors' movement really helped to make the performances authentic.

The venue for the Players' performance was much more suited to the production than where we staged ours but I'm not going to make excuses as to why this production was better. Players' 'Disco Pigs' is possibly the best piece of student theatre I've seen and, rather than begrudging their brilliance, I'm actually quite inspired by it. It makes me want to direct again, taking a more creative approach, and to learn how to use lighting properly.

If you can, try to catch this show. It's on tomorrow (Friday) and Saturday at 8pm in Players' Theatre, Trinity College Dublin. Tickets €5.

Got Milk?

While working in Cineworld for the JDIFF last week, I happened to overhear some glowing praise for 'Milk', the biopic of political activist Harvey Milk, so I decided to suss it out for myself.

Famed for being the first openly gay man in American politics, Harvey Milk was a key figure in the gay civil rights movement in the 1970's. This film charts his journey from inauspicious beginnings through to his term as a member of the board of state supervisors in San Francisco and the various personal and professional difficulties he faced along the way.

The film marks something of a departure for director Gus Van Sant, best known for his work in avante garde, independent cinema. Milk's story is certainly worth telling and Van Sant's attention to detail in his depiction of 1970's San Francisco provides the film with a wonderful authenticity.

Biographical movies are always constrained by limitations of the genre but, even if Milk does get a little fuddled between the title character's personal and professional life on occasion, it's mostly well-paced.

The title character is superbly played by Sean Penn, deservedly nominated for an Oscar for his performance. Although the film is damning of intolerance and homophobia, its main antagonist is not painted as a two-dimensional villain and this consideration is a key factor in setting this production apart from the type of melodramatic biopics you might catch on TV3 on weekday evenings.

The only major flaw I can see in 'Milk' is its conclusion. The way that the dramatic irony of the film's tragic climax is bluntly spelled out is, frankly, a little insulting to the intelligence of the audience. Flashbacks to Milk's premonition of his fate and blatant references to symbolism in a previous scene are unnecessary.

Overall though, Milk is an excellent film and I certainly wouldn't begrudge its tally of eight Oscar nominations. If you're planning any cinema visits in the next couple of weeks and 'Frost/Nixon' isn't your bag, then this is definitely a worthy alternative.

Oh, and look out for Lucas Grabeel (High School Musical's Ryan) in the supporting cast as an up-and-coming photographer.

[Images: LA Times & Disney Clipart]

Million Dollar Baby

'Slumdog Millionaire' has emerged as an early favourite for Best Picture at this year's Academy Awards. We won't know if it's even in the running until the nominations are announced on Thursday but, after nabbing a series of prizes on the movie awards' circuit, it would be something of a surprise if 'Slumdog Millionaire' doesn't feature among the contenders.

I watched the movie last night on a reasonably large laptop screen but, a few minutes in, I began to seriously regret not forking out the cash to see it in the cinema. The cinematography is easily the best of any movie I've seen over the past twelve months and I imagine it'd be even more impressive on the big screen. The film's score, which features a number of appearances by genre-melding songstress M.I.A., is equally fantastic.

The film is based on a book I'd previously read, 'Q&A' by Indian Author Vikas Swarup. I enjoyed the book but thought its story of a young man competing on the Indian version of 'Who Wants To Be A Millionaire?' was slightly contrived and that the narrative was a little formulaic. The story has been adapted quite drastically for the screenplay and, altough I think the plot is probably one of the weaker facets of the movie, it's a massive improvement on Swarup's original text.

A woman in Eurospar today went to enormous effort to persuade a slightly-mortified sales clerk, who possessed very little English, that he should go see this film. Statuettes or no statuettes, if 'Slumdog Millionaire' can have that sort of effect on people, it's destined to become a modern classic.

[Image: The Guardian]

Great in '08

Please find attached the obligatory end of year 'things I liked' review:

Bangin' Choons of '08:

Annie - Songs Remind Me Of You
Bloc Party - Talons (Phones R.I.P. Remix)
Britney Spears - Womanizer (Teenagers Remix)
FrankMusik - When You're Around (Boys Noize Remix)
La Roux - Quicksand
Lady Gaga - Pokerface
Ladyhawke - Magic
Pin Me Down - Cryptic (left)
Sam Sparro - Sick
Santogold - L.E.S. Artistes



Best Albums:

Blood Red Shoes - Box of Secrets (right)
Heathers - Here, Not There
Ladyhawke - Ladyhawke
Lykke Li - Youth Novels
Santogold - Santogold

Most Disappointing Album:

The Ting Tings - We Started Nothing

Best Live Performances:

Alphabeat @ Whelans
Camille O' Sullivan @ Queen's Hall
Chromeo @ Electric Picnic (left)
Foals @ The Academy
Lykke Li @ The Button Factory

Best Live Non-Performance:

Santogold @ Tripod

Best Non-Live Performance:

Zeigeist @ Twisted Pepper


Best Movies:

Caramel
In Bruges
No Country For Old Men
Sweeney Todd
The Diving Bell and the Butterfly (right)

Worst Movie:

Sex and the City


Best Theatrical Shows:

Circus @ Dublin International Theatre Festival (left)
Clockheart Boy @ Edinburgh Fringe
Eejit of Love @ Dublin Fringe
Scaramouche Jones @ Edinburgh Fringe
The New Electric Ballroom @ Edinburgh Fringe

Worst Theatrical Show:

Those Powerful Machines @ Dublin Fringe

Just like a Circus...

(published in Campus Magazine, December 2008)

If there’s anything the tabloid media like more than documenting the deterioration of a fallen star, it’s championing the cause of a comeback kid.

In early 2008, the relentless hounding of popstar Britney Spears by paparazzi, at a time when her mental health was decidedly questionable, led Los Angeles governors to consider imposing a ‘Britney Law’ to extend protection of the privacy of public figures.

Just months later, many of those who spearheaded the media crucifixion of the American singer are lauding her for her speedy return to health and hailing her new album, ‘Circus’, as the best work of her career.

Even at the height of her personal woes, Spears’ musical output never faltered noticeably, suggesting that her chart success is probably more to the credit of those puppeteering the Britney brand than the performer herself.

A pick’n’mix of some of pop’s best songwriters and producers are credited for their contributions to ‘Circus’. The tracks range from syrupy ballads like ‘Out from Under’ and ‘My Baby’ to big-beat dance-tracks like recent single ‘Womanizer’ and the provocatively titled ‘If You Seek Amy’ (say it fast).

The main problem with this scattershot approach to production and writing is that it results in an album lacking in any sense of cohesion or ‘wholeness’. Like many pop albums, ‘Circus’ is a victim of its pursuit of the perfect standalone song.

That said, the album is peppered with some moments of greatness. On ‘Mannequin’, Spears’ distorted vocal is threaded between synths and drum-loops to great effect while her breathy Imogen Heap-esque delivery over a minimalist backing on ‘Unusual You’ marks another highlight.

Spears’ attempts to vamp it up on ‘Lace and Leather’ and ‘Mmm Papi’ are less successful but perhaps it’s just difficult to see her as a sex symbol after all those unflattering up-skirt shots.

Despite its weaker moments, 'Circus’ is hit-heavy enough to suggest that, if the reigning Princess of Pop is to be deposed by younger upstarts like Rihanna or Lady Gaga, she’s at least got a firm grip on the crown for the time being.

Verdict: 65%

Trilogy of Desserts

This week I wound up going to three gigs. Maybe it's a sign that I'm getting auld but, these days, I'd much rather go see an act I've even a vague interest in perform than head out on a hedonistic night of clubbing and booze.

Tilly and the Wall played on Tuesday in Andrews' Lane Theatre. Their music isn't easy to categorize as it doesn't really fit any specific genre. They masterfully combine elements of folk, pop, rock and electronica in their lovely sing-along ditties and I guess what makes them particularly unique is their use of a tap dancer, Jamie Presnall, for percussion.

The gig was great fun and full of arty, vaguely hippyish types. There wasn't a whole lot of people there (truth be told I've never seen much of a crowd in Andrews' Lane) but it didn't seem to affect the performance, which the band genuinely seemed to enjoy. The support act, Ugly Megan, were pretty impressive too. Their quirky bogger-electro sound reminds somewhat of You're Only Massive and their cover of the theme from 'Fresh Prince of Bel Air' was inspired.

This Tilly and the Wall video is fairly awesome if you haven't seen it yet:



Wednesday was the night The Saw Doctors played the DCU Hallowe'en Ball. I wasn't particularly excited to see them but, admittedly, they were better than I expected. All the same, I'm not prepared to post any of their videos on my blog. Instead, here is a picture of an emu:

Finally, on Thursday, my friend Yvette and I went to see Wallis Bird in The Button Fatcory. I've previously enthused about Wallis and I would definitely recommend checking her out if singer-songwriters like Kate Nash or Gemma Hayes 'float your boat'. Bird told us that it was the biggest gig she ever played and her set was over an hour-and-a-half long, guaranteeing us our money's worth.

It was endearing to see a performer so appreciative of an audience although her insistence that the audience partcipate in call and response for every single song and her constant gushing seemed slightly unprofessional. Bird is a major talent and deserves a wider audience. Perhaps this version of the Depeche Mode Clasic 'I Just Can't Get Enough', currently featured in the television advertisements for 'The Sun' newspaper, will be her big break?

Fringe Binge

I've spent the last month and a half bouncing from festival to festival. After arriving back from my month-long stint in Edinburgh at The Fringe, I headed to Electric Picnic for a weekend before starting a job at the Dublin Fringe. I think it's gonna be weird on Sunday when the Dublin Fringe comes to a close and my life returns to some semblance of routined normality.

I've managed to catch a few shows so far. As always with Dublin Fringe, the quality has varied wildly.

The Good:

Cathy Davey's Songs that Scare Children (But in a Very Beautiful Way) - This one-off show was very special and is a serious contender for this year's Fringe Awards (which I'll hopefully get to attend). Lisa Hannigan, David Turpin, Davey herself and a few more peformed tunes ranging from Gilbert & Sullivan and Gershwin to songs from The Night of the Hunter, South Pacific and Hans Christian Andersen, all in an eerie vaudeville way. Just awesome.

Eejit of Love - An Irish musical parodying reality TV shows like X-Factor. Sounds dire, right? Well, that's what I thought but word of mouth was so positive that I decided to check it out on the last night of the run. Granted, the plot was practically non-existent, but the music, punchy lyrics and performances were all worthy of Broadway.

Antics Rogue Show - The premise was kind of 'pimp my art'. Audience members were encouraged to bring along pieces of bad art lyng about their homes so that Will St. Leger, Maser and some more of Dublin's top graffiti artists could stencil, spray and occasionally smash the pieces to transform them into something more aesthetically pleasing. There was a unique experience, made all the better by the refreshingly informal atmosphere and free beer.

La Clique - The flagship show of the Dublin Fringe for the past two years. Tckets for this one-of-a-kind burlesque circus show are €35 but worth every cent.

The Bad:

Those Powerful Machines - There was nothing wrong with the production itself but the script was unspeakably heinous. A cripple who builds sex machines, a nightclub hostess who lost her dreams when someone shoved an action man up her vagina and an Irish terrorist convene in a sparsely-furnished apartment. It's just as good as it sounds.

Twelve Treatises on Memory: An Epistemological Slapstick (With Sock Puppets) - Should be sued by the Advertising Standards Board. There was no slapstick, epistemological or otherwise, and the sock puppets seemed like a hacked-on afterthought intended as a 'get into Fringe' card. This play was like watching a scene from Fair City extended over an hour and twenty minutes.

The Mediocre:

Appointment in Limbo - I expected more from Patrick McCabe, writer of 'The Butcher Boy' and 'Breakfast in Pluto'. This was just ninety minutes of melodrama with a horribly clichéd 'it was aaaall a dreeeam... or was it?' ending.

The Silhouette Old Time Mystery Radio Show - Duke Special and friends presented an evening in the style of a 60's radio show. It fell flat in comparison to the show devised by Cathy Davey that had graced the Spiegeltent two nights previously.

Edinburgh Diary: Day Nineteen

Good news. My free wireless internet has magically re-appeared, which means I no longer have any excuse for not making posts.


I've just left Eimear to a taxi after our weekend of fun here in bonnie Edinburgh. Unfortunately, because I was working a couple of shifts, she had to entertain herself a fair amount but there are far worse places to find yourself left to your own devices than Edinburgh at this time of year.

We caught a couple of comedy shows together (Stephen K. Amos and Adam, Jason & Friends) and she went to a few others while I was working (Maeve Higgins and Ed Byrne). We also went to the Camera Obscura, the café where J.K. Rowling wrote the early Harry Potter books, saw a great independent film called 'Breakfast with Scot' and checked out the various street performers on The Royal Mile. 'Twas really cool that she came. She's been the first (and potentially only) visitor I've had since I've been here. I just wish I'd had more time off work so we could have gone out properly and partied up a storm.


This week I've seen at least one show a day including a strange dance/performance art/experimental theatre show called 'The Blank Album' (see above), a hilarious character-comedy show called Count Arthur Strong about a fictitious sixties British television personality and a wacky production called 'Pot Noodle: The Musical'.

The best show I saw this week though was 'Scaramouche Jones', a one man show, written and performed by Justin Butcher. The story is hard to describe but its basically about a strangely white-faced boy born to a gypsy woman and the seven white masks of his lifetime that include, among others, being enslaved to an African snake-charmer and working as a gravedigger at Auschwitz. Butchr's turn as the tragic hero was honestly one of the most powerful theatrical performances I've ever witnessed and director Guy Masterson certainly seems to deserve the reputation that precedes him. This production previously played in Ireland so, if it comes back, you must go see it.

I've tried to catch a few of the many exhibitions taking place around the city. The Vanity Fair Portrait Exhibition was awesome. The photos of artists, writers and vintage Hollywood icons of the 1920's and 30's were great to see and all the more impressive when you consider how much more arduous the photographic process was back then.

Gloria Swanson

Louis Armstrong

I was obvlivious to the fact that Vanity Fair actually ceased production in the late 1930's, only to make a comeback in the 1980's and provide us with these iconic images:

Sean Connery and Michael Caine


Hilary Swank

Julianne Moore

I also checked out the Andrew Grassie and Kay Rosen exhibitions. My knowledge of art terminology is somewhat lacking but I think I'm right in saying there was a touch of post-modernism to both exhibitions.

Grassie's work comprises mostly of paintings of other exhibiitions (both factual and fictional) that are painted in such fine detail so as to look like photographs. I found it quite interesting but some of the notes left in the comment book were very critical of his 'self-absorbtion' and 'smarminess'. Different strokes, eh?

A painting by Andrew Grassie of other artworks.

Kay Rosen's pictures are generally based around playing on words, using colour and shape. I thought some of the pieces were very clever but seemed a bit limited or gimmicky to base a whole exhibition around this sort of thing.

Blurred - Kay Rosen

Edinburgh Diary: Day Thirteen

Wow. It' hard to believe I've already been here almost two weeks. The free wireless I was picking up in my flat has mysteriously vanished so this particular entry is coming courtesy of an internet 'café' (there's not a cup of coffee or muffin in sight) down the road.

I'm not in work until nine o' clock tonight, which is probably a good thing as I was ridiculously hungover this morning. A few of us from work went to 'Silent Disco' last night, which was great drunken fun. We had to pay £10 to get in and drinks were a rip-off but I think it was sort of worth it. It's so funny when you take off the headsets and hear people singing along to the song with gusto, forgetting that sneaky people like me can hear them.

Will Young turned up at one point and I actually felt really sorry for him. People just started following him around the club and I think that was probably the reason he left after around half an hour. I ended up getting in a silly argument with somebody who claimed 'he brought this on himself by entering Pop Idol'. Those of you who know me it all, probably appreciate how stubborn I am with a few drinks on me.

I've been trying to see as many shows as I can. I saw Peter Dineen in 'St. Nicholas', written by acclaimed Irish playwright Conor McPherson. It was a great one man show about vampires and theatre critics (I wonder what McPherson was trying to say...) but the audience consisted of about six people, which was a bit of a shame. I also saw a couple of comedy variety shows, 'Best of the Fest' and 'Adam, Jason and Friends', which seem to be a bit 'hit or miss' depending on your own idea of what's funny.

My favourite show I've seen this week was 'Clockheart Boy' which was a great play devised and performed by Dumbshow Productions. I suppose it was a kids' fairytale but sometimes the simplicity of childrens' stories can be far more affecting than 'grown up' ones. I think it's possible for productions to lose track of the main idea by getting bogged down by subtext and such. Anyway, it was a lovely little play and some of the devices they used, like shining a lamp against a blanket to make a puppet show of sorts, were really clever.

I'm hoping to catch a few of the Irish plays over the next week or so. Some of them have been getting super reviews, especially 'The Electric Ballroom' by genius Irish playwright Enda 'Disco Pigs' Walsh, which has already won a prestigious 'Fringe First' award for new writing.

Ok, I think I'm going to try and get me some dinner. Somewhere cheap preferably as my financial situation is a bit... concerning. I set up a Scottish bank account and was promised that my card wouldn't be sent to Ashbourne. Low and behold, a few days later I get a text from mammy saying that my bank card has arrived. So, I won't be able to access my wages for a few days and will have to try and survive on what I have in my AIB account, which isn't a lot.

Eek.

Edinburgh Diary: Day Nine

The most invaluable purchase I have made during my time here has been the lovely £3 umbrella I bought in ‘£-Stretcher’ (my new favourite shop). The rain the past couple of days has been pretty relentless but I haven’t allowed it to dampen my spirits (hoho!) and I’ve been continuing to milk my Fringe experience for all it’s worth. (I’ve never been quite sure whether it’s correct to write ‘all its worth’ or ‘all it’s worth’… meh!)

Over the past couple of days, I’ve seen loads more shows. Des Bishop’s ‘Tongues’ was pretty good fun. He didn’t have me rolling in the aisles or anything but his canny observations on Irish culture and ‘shiny’ (as Eimear would say) personality won me over. I arrived for the gig a bit too early and decided to nip out to pick up a chocolate and raspberry muffin (I’ve been eating SO badly) just as Des was arriving. He ended up holding the door open for me even though, once I’d realised who it was, I tried to insist he enter first. No airs and graces about this chappie, I’m sure you’re glad to hear.

‘Circus Oz’ and ‘Feast of Flesh’ are two variety shows of Australian origins that are heavy on human acrobatics. Although, the latter is considerably more ‘adult’ with willies, boobies and bare bums on show throughout. ‘Circus Oz’ is on in the venue I’m working at and I actually got to be involved in one of the acts in a very small way. (I had to make sure that balls being juggled didn’t bounce off the stage. Maybe not very exciting but it was cool to be part of it.)

‘Feast of Flesh’ is in the vein of ‘La Clique’ but with less of an emphasis on spectacular stunts and more of an emphasis on eroticism. One scene, which I actually thought was pretty sexy, involves a woman starting off completely naked on a turntable before being completely wrapped in cling-film by two muscular men as she spins around. Hey, at least it’s slightly more dignified than doing porn!

Finally, I forked out £15 for a second-row seat at Camille O’ Sullivan’s ‘Dark Angel’ cabaret show but it was worth every last over-sized penny. The woman makes me want to use all manner of faggoty words like ‘mesmerising’ and ‘entrancing’ and she radiates this incredibly intense energy throughout her performance of songs by Tom Waits, Nick Cave and Jacques Brel. Each song is delivered so differently to the one before and the one after that I’m tempted to make some godawful pun about her being a ‘Camille-eon’ (oh look, I just did!)

Throughout the show, she swigs from a bottle of red wine and, at one point, breaks down in tears during ‘Look Mummy, No Hands.’ As she prowls along the front row, climbing on some patrons and snarling at others, she turns to one man and says, ‘You look scared. I’m scared too but, sure, that’s what it’s all about.” I’m not sure how much of her drunken, emotionally vulnerable persona is staged but I guess it doesn’t really matter when the performance is this good.

Right, I think I’ve enthused about Camille quite enough. I’ve discovered that the flat I’m staying in is around the pool from a 50m swimming pool. I’m sure that any of you that know me will realise that this is like all my Christmases come at once. I think I’ll head over for a quick splish splosh before work.

Edinburgh Diary: Day Six

I retract my mildly critical analysis of Maeve Higgins comedy set.

I've just been to see 'I Can't Sleep', which is a children's show featuring the Cork woman and David O' Doherty and it was brilliant. The show is based around David's difficulty in going to sleep. He wakes up Maeve out of sheer boredom and then it remains for the audience to help the two of them to get back to sleep. Genius.

I also saw the Soweto Gospel Choir this morning and they were equally fantastic. Admittedly, I probably wouldn't have gone to this show of my own accord, but a few people from work wanted to go so I tagged along. The choir are from South Africa and they sang a mix of familiar and not-so-familiar gospel tunes whilst lepping about the stage like nobody's business. My friend Susan would LOVE this show.

I meant to write about my accommodation situation yesterday but ran out of time. The housemates I've met all seemed really nice but there seems to be a bit of tension in the house. I arrived home late on Friday night and one of the two Asian guys, Colin, told me there had been a bit of an incident with the American guy, Spencer. 'I just hope his bad behaviour isn't extended to you' he rather ominously said to me. I've decided it's probably for the best just to keep a low profile in the flat so I'm pretty much just sleeping and washing there. It's not so bad though because I'm pretty much on the go the whole time.

I've been getting on really well with the people I'm working with (mainly the girls, it has to be said) so I think I can officially say I'm no longer Joey-no-mates. Which is nice. It's great to have other people to see shows with because I think, even moreso than at the cinema, you really need somebody to turn to and say stupidly obvious things like 'oh, that's funny' or 'that was really good' at a comedy show or play.

God, these recent blogs are so long-winded. As if anybody even cares about my opinions on shows they're unlikely to ever see. I reckon it'll be cool for me to be able to look back on this a few months down the line though.