We’ve had a great run at the Edinburgh Fringe Festival – here’s a review we received from DIVA magazine, which we’re delighted to add to the lovely one we got from Bi Community News last week!
The Unfortunate Bisexual is now at the Edinburgh Festival Fringe! Cerys Bradley and I are flyering our little socks off all around Edinburgh, and performing every night (unless it’s a Monday) in the basement of The Street on Picardy Place.
We’ve seen some incredible shows, and are thoroughly enjoying the experience. If you’re going to be in Edinburgh over the next few weeks, do come and check out the show!
Photo credit: Steve Cross
Poster design: Hannah Cameron
Excited to be heading to Jodrell Bank for Blue Dot Festival tomorrow to celebrate the anniversary of the moon landing. We’ll be recording Level Up Human on the Notes stage with Simon Watt, geomicrobiologist and comedian Sarah Jones and Dr. Holly Shiel.
How would you redesign the human body?
If you’ve not heard the podcast before, get involved here!
The Unfortunate Bisexual show, which I have been building all year with Cerys Bradley, is going to the Edinburgh Festival Fringe!
Edinburgh Festival is the world’s biggest arts festival, and we’re absolutely delighted to be taking our show up there.
If you’re in Edinburgh during the month of August do come along and see it! We will be at The Street, 2b Picardy Place from 9pm until 10pm from the 4th to the 24th (not Mondays or the 17th.)
See you there!
“There are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they’re going to have, where the wires are going to run, what kind of plumbing there’s going to be. They have the whole thing designed and blueprinted out before they even nail the first board up.
The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don’t know how many branches it’s going to have, they find out as it grows. And I’m much more a gardener than an architect.” – George RR Martin
This gave me great hope when I read it a few weeks ago.
“Maybe I’m a gardener!” I thought to myself, watering some tomato plants. Maybe that’s why I’m rubbish at writing long stuff. I get scared by the bigness of a project and dive into a completely alien way of working.
Maybe, I think, if I work out what all the sections of this are, and plan it to the nth degree, then eventually I’ll just fill in the detail in all the little compartments I’ve created and the thing will be finished and beautifully structured.
But I just don’t work like that. Neil Gaiman explains his writing method:
“Your first draft can go way off the rails, your first draft can absolutely go up in flames, it can — you can change the age, gender, number of a character, you can bring somebody dead back to life. Nobody ever needs to know anything that happens in your first draft. It is you telling the story to yourself.
Then, I’ll sit down and type. I’ll put it onto a computer, and as far as I’m concerned, the second draft is where I try and make it look like I knew what I was doing all along.” – Neil Gaiman (The Tim Ferriss Show”)
Another gardener! Write it, allow anything at all to happen, and then pick out the bits that make up an elegant plot in draft 2. He even goes on to say he prefers hand-writing his first drafts because then he can pick out the bits he wants when typing up, rather than having to delete whole pages of work on the computer.
Then I listened to another interview today which suggests that we may not be in control of our creative projects at all.
A true creator knows that you follow the thing to where it’s going, not where you think it ought to go.” – Adam Savage (via Tim Ferriss, again.)
Now that’s really interesting.
Is it that a creative project has a life of its own, and we’re not the master of the thing we came up with at all?
“I saw the angel in the marble and carved until I set him free.” – Michelangelo
It’s all very well for people of extraordinary vision like Michelangelo, but not everything is captured inside a block of marble. And if it is, not everybody can see the statue. Some just see a very difficult and painful afternoon.
I guess if you look at it from outside your own skull and the point in time that you’re at, every creative project has a trajectory and a rate of ‘success’, but we can’t see all of it from the beginning.
So maybe the point is just to set off along the path, and see where we get to.
Level Up Human, the podcast that redesigns the human body, is back at the Barbican!
The Barbican’s Life Rewired season considers what it means to be human when technology is changing everything. Is it enhancing our lives, challenging our identities, or both?
Join evolutionary revolutionary Simon Watt, hormone champion Dr. Miles Levy and me to give the body an almighty overhaul in this brand new episode.
We were full to the rafters and had such a brilliant time trying out ideas. If you came along and want to keep in touch about the gig, join our facebook group for details of future events. We have a cabaret show on Friday at the Harrison in Kings Cross, and we’ll be putting more dates in the diary very soon.
I’ve written before about memory walks. But the problem is they can disconnect you slightly from the audience.
In your head you’re in a different place and I’m not sure on their own they’re enough.
Then I listened to an excellent podcast episode by Tim Ferriss. Tim was talking to one of the greatest drummers on the planet, Dave Elitch. If you haven’t heard of Dave, this video of him on tour with the Mars Volta is worth checking out if you don’t have a gig nearby!
Dave is one of those drummers that artists like Miley Cyrus call when their drummer suddenly breaks their arm or similar. Dave goes in for a rehearsal with a band, picks up their entire back catalogue in three weeks, and then goes on tour with them. Bearing in mind the drummer can make or break a gig all together, we need to learn from this man.
How does he do it?
I’ll play the song; I don’t know, like five or 10 times with my notes. And then I start, “Okay, I think I got it now.” Then I’ll put my notes away and just play. No, sorry. Then I’ll play with just the notes, no music. Then I’ll play –
Tim Ferriss: As you were saying. So you’re accompanying the music first with your notes.
Dave Elitch: Yes. And then when I get comfortable the next step –
Tim Ferriss: Turn off the music.
Dave Elitch: – and just play with the notes. And then the next step is music, no notes. And then the final step is just a click track, nothing else. So just a click track.
Tim Ferriss: Click track metronome.
Dave Elitch: Yeah. So I hear nothing, and I have to know it so well that I can get through the whole song in my head, hearing everything. That’s an insane amount of work. But the deal is when you get on stage, and there are 30,000 people screaming, and like with Miley (Cyrus), people throwing bras and underwear at me.
Tim Ferriss: Better than batteries and tomatoes, I guess. Or beer bottles.
Dave Elitch: Like at that moment, you have to know everything so well that that’s not going to faze you. It takes a long time. I’m in there for 10 or 12 hours at the beginning.
We’ve all been at one of those gigs where people are throwing batteries at us, right? No, me neither.
And then Ferriss goes explains how he goes about trying to learn a keynote:
Tim Ferriss: I want to note something for folks, and I’m so glad we got into this because that particular way that you laid out your progression for practicing a song is nearly identical to how a lot of the best public speakers also prepare their keynotes. They will take a keynote – and I learned to do this as well, but I was borrowing from other people – and instead of – let’s just say for the sake of simplicity, a 60-minute keynote – rather than trying to give the 60-minute keynote from start to finish, they’ll break it into four pieces.
Or what they’ll do – and this is something I started to model – is because the beginning and the ending is so important, actually breaking out the first five minutes and the last five minutes. Let’s make it simple. If it’s a 40-minute talk – this will make the math a little easier – first five minutes, then you have three 10-minute sections and then the last five minutes. And to practice each one of those individually, as opposed to in sequence. Initially, not paying attention to time, although having some rough idea of the total length. And then recording, listening to it, making these post-game analysis edits necessary.
So I’m going to try this. I have a 30 minute set to do on Wednesday night (come along if you’re around!) I’ve written 25 minutes worth of jokes, so I’m going to try to learn the first five, the last five, and then two chunks of about 7 in the middle.
The whole interview with Dave Elitch is here.
Do you have to learn stuff by heart? How do you go about it?
On Wednesday 12th December I’ll be presenting Jean-Pierre Jeunet’s fabulous Amélie, the classic comic fantasy that launched Audrey Tautou to stardom.
Tautou stars as the lonely waitress who finds ways to bring others the happiness (or comeuppance) they deserve, and eventually finds her own happy ending. It’s an imaginative, sassy romp through a Parisian dreamworld, filmed and acted with joyous flair.
This screening is part of Comedy Genius, a nationwide celebration of comedy on screen led by BFI, the Independent Cinema Office and BFI Film Audience network, supported by funds from the National Lottery. For more screenings go to bficomedy.co.uk. #bficomedy
Tonight Cerys Bradley and I are taking a brand new work in progress show to the Harrison in Kings Cross.
We’ll be trying out new ideas in what is hopefully going to be a barnstorming Edinburgh show once we’ve tried it out a few times and knocked all the edges off the thing.
What does it mean to be bisexual? No, actually, what does it mean? Are we doing it right? How can you tell?
Join comedians Rachel Wheeley and Cerys Bradley for a night of comedy as confusing as coming out and as ridiculous as trying to explain the in’s and out’s of attraction to everyone you meet. They will each tell you their remarkably different experiences of being bisexual in this work in progress show that definitely wasn’t conceived in a desperate bid to validate either of their sexualities. There will be jokes, there will be tangents, there will be graphs, and more, because why have one thing when you can have many?
If you wanted tickets to this but missed out, check out our second work in progress show at Angel comedy in January.