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I just spent 4 very crowded days in London,doing all kinds of fun stuff, some of it with lovely people (and some by myself)
First up was 'An Evening with Neil Gaiman and Amanda Palmer' at the Hackney Empire, which was tied in with Neil and Amanda guest-editing an edition of the New Statesman magazine.
Despite the New Statesman having made a real mess of the ticket sales, I was fortunate enough to have not one, but two good friends who offered me tickets, which meant that not only did I get to go, but I also got to put friends in touch with each other so they could go too - so there ended up being 5 of us meeting up before the event (although we did not all get to sit together at the event ) for drinks and food and general catching up.
We drank beer (after a struggle with an entirely un-trained bartender) and bumped into further friends and acquaintances, and we ate delicious ramen at Tonkotsu, before we headed to the Hackney Empire.
Although the evening had a theme, and a set list, it was fairly free-form it was fun - everyone on stage seemed relaxed, despite the variations on the running order (Neil kept looking at the list in front of him and gently trying to follow it, but I think Amanda was seeing it more as a guideline than a binding list, and I suspect they were both a little jet-lagged!
But despite the slightly free-form style (or perhaps because of it!) the evening worked well, and little things like Hayley Campbell being introduced after, rather than before, her reading with a mix of light-hearted and more serious takes on the theme of saying the unsayable, the age of outrage, censorship and its effects - Neil read a (very funny, but also scary) article about hosting a table at the PEN benefit where Charlie Hebdo received an award, and his story Babycakes (which he described as the only story he has written which disturbed him)
Amanda played 'The Killing Type' and parts, by way of illustration, of 'Oasis', and there was discussion, and conversation. It felt very intimate; we, as well as those on stage, were among friends.
As always when seeing Neil and Amanda on stage together, I loved seeing the obvious and open affection between them, and enjoyment of one another's performances.
At the end, Amanda returned for an encore, playing the Ukulele song, with a short, pregnancy acid-reflux induced interruption.
It was a whole lot of fun,and I think, on appearances, it was mostly fun for those on stage, as well as those of us off stage.
And yes, I have now bought a copy of their New Statesman edition!
First up was 'An Evening with Neil Gaiman and Amanda Palmer' at the Hackney Empire, which was tied in with Neil and Amanda guest-editing an edition of the New Statesman magazine.
Despite the New Statesman having made a real mess of the ticket sales, I was fortunate enough to have not one, but two good friends who offered me tickets, which meant that not only did I get to go, but I also got to put friends in touch with each other so they could go too - so there ended up being 5 of us meeting up before the event (although we did not all get to sit together at the event ) for drinks and food and general catching up.
We drank beer (after a struggle with an entirely un-trained bartender) and bumped into further friends and acquaintances, and we ate delicious ramen at Tonkotsu, before we headed to the Hackney Empire.
After a brief introduction on behalf of the New Statesman, Neil and Amanda came on stage, and Neil read a new poem, Credo, (which is published in the magazine) then there was a mix of Amanda and Neil's performances, and a number of special guests.
Guests included Roz Kaveney, who is a writer and activist, performed a very personal poem, comedian (and transvestite vegan) Andrew O'Neill who performed what may have been the longest drawn-out joke ever, (and later, a wonderful reconstruction of the genesis of the 'knock-knock' joke....Writer Hayley Campbell, who read her piece from the magazine, a horrifying picture of what may happen if google and twitter ever publishes all our un-sent drafts, and comedian and writer Mitch Benn, who, in keeping with the 'saying the unsayable' theme of both the evening, and the magazine, performed a song written in response to the Charlie Hebdo murders.
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| Neil, Roz Kaveney, Haley Campbell, Andrew O'Neill, Amanda Palmer (and bump) Mitch Benn |
Although the evening had a theme, and a set list, it was fairly free-form it was fun - everyone on stage seemed relaxed, despite the variations on the running order (Neil kept looking at the list in front of him and gently trying to follow it, but I think Amanda was seeing it more as a guideline than a binding list, and I suspect they were both a little jet-lagged!
But despite the slightly free-form style (or perhaps because of it!) the evening worked well, and little things like Hayley Campbell being introduced after, rather than before, her reading with a mix of light-hearted and more serious takes on the theme of saying the unsayable, the age of outrage, censorship and its effects - Neil read a (very funny, but also scary) article about hosting a table at the PEN benefit where Charlie Hebdo received an award, and his story Babycakes (which he described as the only story he has written which disturbed him)
 |
| Amanda playing the Ukulele Song |
As always when seeing Neil and Amanda on stage together, I loved seeing the obvious and open affection between them, and enjoyment of one another's performances.
At the end, Amanda returned for an encore, playing the Ukulele song, with a short, pregnancy acid-reflux induced interruption.
It was a whole lot of fun,and I think, on appearances, it was mostly fun for those on stage, as well as those of us off stage.
And yes, I have now bought a copy of their New Statesman edition!
Thanks again to Hellie and Lyle,who booked tickets.
There are a couple more pictues on Flickr, all from the curtain call, as photos were not allowed during the performance itself (and anyway, I was concentrating on what was being said!)
There are a couple more pictues on Flickr, all from the curtain call, as photos were not allowed during the performance itself (and anyway, I was concentrating on what was being said!)
