It is frustrating that the time when I should really be blogging the most is at the time when it sooooo isn't going to happen. Production week - when people might actually be interested in the work, when interesting things are actually happening - is dead to this blog for the most part. I'm just too tired. And it doesn't get any better at the end of the week (i.e. now) because I've forgotten all the interesting stuff. It just leaked out of my brain, probably at the same time I drank all that alcohol. Hell, there aren't even any photographs, so I can't even show you them!
So, The Shakespeare Delusion went up this week. Version 2, that is. Version 1 went up two years ago and then went into hiatus with my colon. It's a leaner, meaner, shorter, punchier version - though fundamentally the same in overall shape and structure. On Monday I performed it at the Quay Theatre as part of my residency and then on Wednesday I took it to the LOST One-Act Festival in good old London.
Both shows went well, comments were positive, money was taken, scripts sold. I now await my fate as to whether it will win anything at LOST. Fingers crossed.
Now, hopefully, Delusion will go on the road next year. I'm seriously thinking of doing so kind of tour, look at doing some festivals, generally get my arse in gear. But, then I remember the downside. It's the same problem stand ups have. Touring a solo show is incredibly lonely. You finish the gig and go to the bar and then there is no one to talk to. This isn't quite fair - there will be audience members who will want to have a natter and it can be jolly nice. But, this isn't guaranteed. Often, especially with a dramatic piece, rather than straight up comedy, people don't. And you can't throw yourself at people, because then you sound a bit desperate. Which, after going to a hotel room (if you're lucky) alone for a few days, you might very well be. What else to do? Sit and drink a post show pint by yourself? Read a book?
It wasn't too bad this week, because at the Quay I knew people. At LOST I knew the organisers, I've performed there a number of times, but I didn't know anyone in the audience. But out on tour, gulp, that doesn't bode well for my sanity.
Which is why I prefer my home touring model. Storytelling for parties, telling stories to real people, not audiences, and then kipping on their sofa before moving on. It's so much more human. Just need to get that one together as well then.
But that's next year, next year is next year - I've still got this year to get through. I've now reached the halfway mark. Delusion was the fifth of ten projects. Well, technically I've already done one of the later ones, so I'm six down. Except I'm only halfway through the first project, so five and a half then. So, now I need to de-clutter and plan the rest of the year. I've got two looming projects that need writing. Metal Harvest which is about the First World War, and which is changing daily in my mind, and Historic Crimes which is about Shakespeare as a sex offender. These need to be shaped, written, planned. And now that the fog of war has faded on Delusion I can now start on them. The next project is already written, so I can just plan the production for Complicated Pleasures. And try to sell it as well. Now, so far, all my shows have had reasonably full houses and three have sold out. But Complicated Pleasures needs to fill a far larger space. So, it's going to be a bit more of a challenge. So, I might not stop going on about it for the next month or two. Until the week it's happening, then I'll stop completely.