Posts by Backdrifter

    I'm reviving this 4 years to the day since it was last active. I've seen plenty of theatre since then but always forget to post about it here.

    So far this year I've seen a 'scratch' session at Eden Court, my local arts centre in Inverness, with two works-in-progress performed followed by discussion.

    First 'proper' play of the year was Two Sisters by David Grieg, at Edinburgh Lyceum, in fact a first visit there for me. It was a drama about the two sisters reaching turning points in their lives, in the setting of a Fife caravan park where they had childhood holidays. A chorus of teenagers open the play and lurk in the background throughout, having asked the audience for some key childhood memories and incorporated these into the script as it's played, meaning no two performances are the same.

    Next I saw my first ever theatre screening, part of the NT Live series in which a stage performance is screened in cinemas. I've previously avoided them as the idea didn't appeal, but this first go was very good. It was The Motive & The Cue, by Jack Thorne, about John Gielgud directing Richard Burton in a stage production of Hamlet in 1964. It was very absorbing and had great performances from Mark Gatiss and Johnny Flynn as the two leads, and Tuppence Middleton as Elizabeth Taylor. It was well filmed with multiple camera angles and dispelled my reluctance about such stage screenings.

    Back to Eden Court for Houdini's Greatest Escape, a very entertaining comedy crime drama by the New Old Friends company. It features the illusionist on tour in England and becoming caught up in a murder for which he's framed. It incorporated his campaign of exposing fraudulent medium acts (which I hadn't known about) and ended with an impressive escapology routine.

    On a London visit I then saw A Mirror, by Sam Holcroft at the Trafalgar Theatre, a political drama starring Johnny Lee Miller. It's presented as though it's a wedding, but we learn that this is a cover for a performance of a play that's banned in the totalitarian state which is the setting for the play within the play within the wedding. There's then a further unexpected twist at the end.

    Next up was Nye, by Tim Price, at the National Theatre. It depicts Aneurin Bevin's battle to establish the UK's National Health Service and the resistance he faced.

    I then saw my second stage screening, Vanya. It's an adaptation of Chekhov's Uncle Vanya, given a modern-day anglicized setting and performed solo by Andrew Scott who plays all the characters. While it didn't entirely work for me, he was impressive in a very demanding production.

    Since the above I've been to see:

    Monster - Japanese film about an incident at a school, told from the perspective of the schoolboy and teacher involved, and the boy's mother.

    Back To Black - biopic about Amy Winehouse. I'm not a fan of her work but enjoyed the film and Marisa Abela's performance in a difficult role.

    Eno - the self-generative documentary film about Brian Eno, no two screenings of which will be the same, which I talked about in this thread. It was very interesting in terms of the subject matter but also in context of the nature of the film. I want to see it again to see how different it'll be.

    Late Night With The Devil - horror drama presented as though it's recovered footage of a 1970s US talk show trying to revive its ratings by having a sensationalistic interview with a parapsychologist and a teenage girl she's caring for, who was rescued from a satanic cult. Unpleasant things happen.

    Civil War - near-future drama in which several US states have separated from the union and are at war with states loyal to the president. It was gripping and quite unnerving at times. It was also interesting seeing Kirsten Dunst, who I unfairly still think of as a girlish 20-something in various 90s/00s films, now playing a tough cynical middle-aged woman. She's very good in it.

    Evil Does Not Exist - Japanese drama about residents of a small rural village outside Tokyo whose lives are disrupted by development of a glamping site adjacent to their homes.

    Beat in October (King Crimson alumni Adrian Belew, Tony Levin with Steve Vai and Danny Carey)

    I'd love to see this but as yet no UK shows. I doubt they'll do any, sadly.

    My next gigs aren't until June: Gary Numan in Leeds, Bat For Lashes in Manchester.

    OK, a dumb question: As someone who lives in the U.S., I don't think the expression "you've got me inside out" would be used much here. What does it basically mean? I think I heard somewhere that it means something like "you've got me all wrong."

    It could be that but in context of the largely angry mood of the song I suggest it refers to emotions being brought to the surface.

    In the UK it's also not a common phrase to say "you've got me inside out" in reference to either being misunderstood or mixed up. In this case I reckon it's been used to specifically serve this song's tone.

    The BBC is a public broadcaster of both radio and television. Its TV division has a mainstream schedule: like shows, films, series and news. It has 2 generalist channels (BBC1+BBC2) and some thematic ones (BBC News 24, BBC Parliament, CBBC...)

    The radio network mentioned is extensive with a number of national stations covering rock pop and classical music, speech, debate and drama, and regional stations across the UK, including gaelic language content where I live in the scottish highlands, and international provision including the World Service and various territories. It also provides dedicated educational content (which notched up 100 years this year) and has its own streaming platform the iplayer.

    I also seem to remember an old BBc drama from the 80s with the same name, using this as a theme tune..but that might be a addled student memory!

    No, you're right about the drama series. Until now I assumed I was the only one here who remembered it. As I recall, it was about an agency that helped to rehabilitate just-released convicts. I think it featured Gwyneth Strong, who played Cassandra in Only Fools & Horses.

    I just looked it up, yes it featured her but the IMDB description says it was two female ex-convicts who set up an employment agency. But I'm still fairly sure they helped other ex-cons. I recall liking the show, but it only lasted one season.

    I can vaguely picture the opening sequence: an animation of a figure boxed in between walls, while the song's chorus played then faded.

    All the transitions on side 1 of Selling England, possibly the most perfect track sequencing they ever did.

    Obviously there are lots of seamless segues and cross-fades on The Lamb but I've always loved the initial one as the rumbling growling title track leads us into the dreamworld via the eerie intro of Fly.

    Bumping this up as I recently read about how Russia is currently living a Genesis song. A strain of hogweed (Sonowsky's) is rife, growing up to 5m high and emitting a sap that causes serious burns that are horribly painful and can take months to heal. It's highly invasive, and a single plant can distribute 100,000 seeds. Crank conspiracists are blaming it on the US carrying out "bacteriological warfare" (surely herbicidal?) against Russia. However, it's self-inflicted. The plants were brought in from their natural habitat in Caucasus Mountains after WWII as cheap livestock feed - though why you'd feed acid-filled plants to animals is beyond me - and it's spread since then, but seems to have gone even madder and is tearing its way across the country. The Moscow Times cites a forecast that the hogweed will "engulf almost all of Russia by 2050" if left unchecked.

    A rather horse/stable door edict from the government requires landowners to remove the weeds or face large fines. But surely the agitation of removing the weeds is going to further distribute the seeds and they'll be stuck in a vicious bota-NIC-al cycle.

    Oh well, never mind.

    It’s like Seven Stones on Nursery Cryme, it’s a perfectly decent song but it lacks the ambition of the rest of the record and kind of gets left behind. On its own I quite like it but compared to the rest of the album it’s easily forgotten

    For me Stones is more a Can Utility in that it's a good song I like but never achieved the profile of the 'bigger' more well-known tracks on its album. I think there's also partly an element of it being never or very rarely played live.

    Time Table is an odd one in that for their 70s period I can't think of an analogous track that's similarly such inconsequential filler and largely superfluous.

    A must-skip for me. I don't feel the album needs this on there. They've done worse songs but on an album with some heft it's a superfluous bit of fluff.

    I rarely like that reverse-adjective thing eg "goblets gold" and "arbors cool" 😖 I get why it's used but I find it quite twee and a bit cringey.

    As for -


    - I find "a carved oak table tells a tale" a very limp opening line. But I suppose in that sense it starts as it means to go on.

    Lovely write up of a concert Brett Anderson of Suede did with an orchestra of disabled musicians, called Paraorchestra. They covered songs about death by Echo and the Bunnymen, David Bowie, Depeche Mode and others. I just received the release in the post but haven't had a chance to listen, and based on this review I'm really, really looking forward to it.…on-and-charles-hazlewood/

    I'd heard about this and would like to have attended. Paraorchestra and Charles Hazelwood have done some excellent, interesting work.

    Collins: Some of our more idiosyncratic lyrics are my favourites. I love the mention of "breadbin" in All In a Mouse's Night.

    Beat me to it. Mne would've been "I always excitedly looked forward to a new set of lyrics from Tony."

    PG: "Before I talk about the new album, and the whole extra album already in the can for release in 6 months time, I want to spend a couple of hours going over exactly what I was getting at on The Lamb".

    Rutherford: "I'm always told I explain things slowly and very clearly"

    Hackett: "Look, just pipe down about Lennon. I want to focus on taking my adventurous new groundbreaking album out on tour"