A Strange August
I went back to Covent Garden and died on my arse.
I spent a week with legends who are responsible for 80% of my professional repertoire.
I worked on new material.
These things are connected.
My failure to deliver the goods at my old stomping ground was partly due to the fact I followed shows that seemed strangely familiar and left me feeling a touch empty inside. Not everything but everyone was new to me. There was a highlight however, the softly spoken Kenny Lightfoot who set the bar almost as high as he could scale cards. I can’t blame the string of cups and balls shows for my demise, they just made me feel like I was “doing a job” and that is always dangerous for a performer. Ego and expectation were the real problem. I left no richer in any respect.
I knew that when I performed in Lisbon this year I would be alongside Gazzo, David Williamson and Richard McDougal. My street show has it’s origins with Gazzo, my close-up with Williamson and Richards’ opinion is important to me. I approached the event with that important mix of fear and excitement. During the week I saw Gazzo, who isn’t use to working for non-english speaking crowds, perform a gentle set for a crowd who couldn’t understand his normally sharp wit. I saw Williamson perform in the streets feeling his way in this alien environment and I saw Richard entertain with an entirely new act, the only thing he was certain of was the costume. It was fantastic. Great performers stepping into the unknown and succeeding because they had the talent and humility to let the environment direct them. No ego, no expectation.
My experience in Covent Garden meant I didn’t want to do the usual street show, my companions in Lisbon meant I couldn’t do it. So I performed new routines, rehearsing on the streets just like I did nearly 20 years ago, feeding off the reactions from the crowds and absorbing the input of all of my fellow performers. Some of the routines worked and will grow, others will never see the light of day again. This is why I became a performer, this is the reason I love what I do. I also made suggestions to the less experienced street performers and they listened. I watched their shows develop over the week, it was genuinely exciting.
I distilled an opinion from all of this and that is if you have the opportunity try something that has a chance of failing.
I read your thoughts with interest (as usaul) I myself have found a nice pitch I can work weekends which is just as good as Covent Garden (CG) without the travelling ect, however(there’s always an but or however) I feel I must go back to (CG) as i want to be able to say i’ve done my show and it worked at (CG).
I hate following performers that are strangely familiar as i too feel empty, although my show is a mixture of people ‘out there’ with a large slice of your DVD(Crowdpuller)and about 20% of my own material which I hope to increase with experience. Its like dipping your toe in the sea rather that running straight in!I have expectation before I perform, but often feel like I’m just doing a job although ‘close up’ is more of a job.A mixture of fear and excitment seem normal, however at (CV) its worse a I so desparatly want to do my own material and as most of my originality is still swimming arround my head! Ha Ha I’ll get there as my show is developing nicly….regards Glen
It seems that it is the time for change. For the first time in years I am feeling to that it’s a job. A similar experience in Germany with Mr Wardell has led me to the same conclusions with slightly different results (for once). To be creative again feels joyous and terrifying. Because of this street performing has become enjoyable again. Well..sort of.