Well‚ the review is out on the place website. Seems they didn't dig it too much. In fact, the reviewer didn't like anything that was performed on 13 February 2002 — April possibly came out the best of the lot. Funny thing, art (loads of javascript errors on the place site unfortunately - just click to ignore them).

Congratulations to April and Sus. The hard work paid off. It looked damn good from where I was standing in the booth, concentrating like hell on not screwing up with the music cues! God know what it must be like concentrating on doing the actual performance right.

From my end, I’d like to say cheers to all the City clique who did the readings — hope you like what was made from your artistic efforts. Just cos we don’t wear those slip–on trainers (except Chrish) doesn’t mean we ain’t got it goin’ on. And cheers to you all for showing up to support April. Much appreciated. While April’s busy drinking coffee and soul–searching, we’re all back in the office. Another day, another dollar.

Finally, while I loved what Mikkel did with the spoken word tapes — nice to see the idea going from interesting concept into concrete reality — even that was surpassed by his performance last night in possibly the greatest “My Way” duet ever heard in that karaoke place.

The morning after...

After a post-show night of keroke until the early hours of the morning my reflections on the show are this: Very, very difficult to keep the live dialogue running at all times, I found I was often distracted by my own words and thoughts amidst moving. However, despite the self-critism that comes along in re-hashing how “good” I looked on stage, I feel that the overall concept was delivered clearly and our intention behind the movement was strong.

Immediate feedback from the audience was a mixed bag. As a general rule immediate post-show critiques are a challenge to take in. I always feel quite vulnerable and if I can’t hear anything good I tend not to want to hear it. In saying this, I hope that the director of the theatre isn’t of the same mind, as I received no comment from him at all. Over-sensitive? Perhaps, but these are the thoughts of the morning after...and having just struggled to get that 2nd cup of coffee down I feel justified in my fragile self-esteem.

What I really need is that phone to be ringing off the hook with promoters anxious to get their hands on this excellent piece of art.....Contrary to this, I shall be spending the latter part of my hung-over morning trying to find out just who did manage to make it to the show, who is interested in receiving a video tape of the work, who is willing to book appointments with me to discuss further opportunities for performance, and finally who wants to give me money to make more dance! Ah, these are the real issues at hand....how do I justify taking a financial loss every time I undertake this endeavour of making dance....when do I say, “This is the last time I make a piece of work without funding” (and really mean it!).

As new agey as this may sound, I must make dance. I love and hate the whole process, but there is no where I’d rather be (except maybe on the beach in Cali) than in a dance studio, making something from nothing, calling the shots about what movement happens when and why....It is the mental work as much as the physical that I enjoy, being in control, feeling satisfied after finding that one missing link between phrases.....feeling the mind get really quiet when the body takes over and suddenly you feel so beautiful....

So, even if no one ever gives me money or critics rip my work to shreds, I’ll still make dance cause it keeps me happy and it makes me feel like I am spending the moments of my life doing something worthwhile.....

Glad to see your work is coming together so nicely. However, I’ve already had complaints from the “actors” about their positions on the “credits” in your last post. Why is Phil top of the bill? Are you saying he was better than me? Did he get paid more? And what about Iain? He was rubbish - just got drunk and fell over and broke things… why’s he above me on the bill? While we’re on the subject, I want a “based on an original concept by…” credit also.

Lots of progression as of late: chucked and created a new ending, revised the waltz bit to “A Child is Born” which was causing Sus & I much grief as we discovered that whole section was about being technically beautiful and was principally against the crux of the dance. So, we changed it to have a hard edge, repetitive and full of energy—works better, still needs more work (and only 3 rehearsals left!).

Yesterday & Sunday were both highly productive days.....recorded the sound here at the house. Everyone who came along to do the job was well geared up for it & did super jobs! Each person had a script devised from the Xenophobe’s guides to the Swedish & Americans and read aloud in turn....(mucho thanks to Phil, Iain, Ed, Carrie, Jim, Fran, Geoff, Matt & understudy Chrish...) The readings became much more natural sounding after the wine started flowing a bit...
Yesterday was spent with Sus and her friend Mikkel (very talented sound guy) who used a cool computer programme called ProTools to cut & splice, overlay and repeat voices. So even though the CD writer decided to conk out at the end of the day – we did manage to mix some terrific stuff to use during performance.

The countdown begins...1 week today!