Tricity Vogue's Ukulele Cabaret - Edinburgh Fringe 2012

TRICITY VOGUE'S UKULELE CABARET returned to the Edinburgh Fringe for its third year in 2012 - 9.30-10.30pm nightly in the Ballroom of Laughing Horse @ The Counting House, from 2nd to 26th August. A star-studded line-up of special guests battled to win the coveted Uke of Edinburgh Award. Each winner chose a topic for Tricity to write a song about for the next show.

You can listen to Tricity's songs on Soundcloud here.

LINE UP DETAILS BELOW:

Thursday 2 August
Desmond O'Connor, Ria Lina, Dusty Limits
Uke Of Edinburgh Award Winner: Lins McRobie of Edinburgh Uke Hoot (audience contestant)
Tricity's song topic: Bowler Hat


Friday 3 August
Dusty Limits, Audacity Chutzpah, Miranda Kane
Uke Of Edinburgh Award Winner: Audacity Chutzpah
Tricity's song topic: Goats


Saturday 4 August
Ben Jones, DeAnne Smith, Emily Scott, The Stillhouse Orchestra
Uke Of Edinburgh Award Winners: Ben Jones and DeAnne Smith
Tricity's song topic: Aubergine


Sunday 5 August
Eleanor Morton, Katrina Smith. Bob and Jim, Albert Spink
Uke Of Edinburgh Award Winner: Eleanor Morton
Tricity's song topic: Mothballs


Monday 6 August
Ria Lina, Stav Meishar, Myra Dubois, Eleanor Morton
Uke Of Edinburgh Award Winner: Ria Lina
Tricity's song topic: Awards


Tuesday 7 August
Sarah-Louise Young, Billy Wagg (Susan Harrison), Howard Read, Molly Beth White
Uke Of Edinburgh Award Winners: Billy Wagg and Sarah-Louise Young
Tricity's song topic: A happy song about the death of a pet


Wednesday 8 August
Joby Mageean, Audacity Chutzpah, Josh Richards, Amelia Robinson
Uke Of Edinburgh Award Winners: Joby Mageean and Audacity Chutzpah
Tricity's song topic: Nintendo Wii (with actions)


Thursday 9 August
Ria Lina, Jane Bom-Bane, Robert Inston, Jax Braithwaite
Uke Of Edinburgh Award Winner: Jax Braithwaite
Tricity's song topic: Alliteration...and Fanny


Friday 10 August
Helen Arney, Mark Wallington, Molly and Me, Gareth and Misha
Uke Of Edinburgh Award Winner: Molly and Me
Tricity's song topic: Sunglasses


Saturday 11 August
Lady Carol, Mark Wallington, Ashley Frieze, Sophie Steel
Uke Of Edinburgh Award Winner: Lady Carol
Tricity's song topic: Mental Block


Sunday 12 August
Jo Stephenson, Eleanor Morton, Mat Ricardo, Uke Gnome
Uke Of Edinburgh Award Winner: Eleanor Morton
Tricity's song topic: Lady Pirates


Monday 13 August
Tim Clare, Jess Guille, Uke Gnome, Formby (Ewan Wardrop)
Uke Of Edinburgh Award Winner: Formby
Tricity's song topic: Bells


Tuesday 14 August
She Makes War, Roland Dootsan, Gareth Ellis, Leela Bunce
Uke Of Edinburgh Award Winner: Leela Bunce
Tricity's song topic: Harry Potter


Wednesday 15 August
Jonny Woo, Josephine Shaker, Callum Scott, Dan Woods, Mr Mistress
Uke Of Edinburgh Award Winner: Mr Mistress
Tricity's song topic: My Drag Queen Wet Dream


Thursday 16 August
Ria Lina, Sh!t theatre, Peter Buckle, Desmond O'Connor
Uke Of Edinburgh Award Winner: Sh!t theatre
Tricity's song topic: Funemployment


Friday 17 August
Helen Arney, Ben Jones, Owen Niblock, Amie Amis
Uke Of Edinburgh Award Winner: Amie Amis
Tricity's song topic: Pineapple


Saturday 18 August
Holly Penfield, Dan Woods, DeAnne Smith, Bob Slayer
Uke Of Edinburgh Award Winner: Dan Woods
Tricity's song topic: 29 Espressos


Sunday 19 August
The Curious Couple From Coney, Tom Harlow, Rosy Rebel, Mat Ricardo
Uke Of Edinburgh Award Winner: Tom Harlow
Tricity's song topic: Glitter


Monday 20 August
DeAnne Smith, Dave Bear, Joe Black, Mr B The Gentleman Rhymer
Uke Of Edinburgh Award Winner: DeAnne Smith
Tricity's song topic: Gentlemen


Tuesday 21 August
Jonny Woo, Bethany Singh, John Lane, David (Audience Member)
Uke Of Edinburgh Award Winner: Bethany Singh
Tricity's song topic: Paper Cranes


Wednesday 22 August
Johnny Suave (Chris Young), Dave Nelder, Josephine Shaker, Jamie Bowen
Uke Of Edinburgh Award Winner: Josephine Shaker
Tricity's song topic: Penguins Drinking Beer


Thursday 23 August
Ria Lina, Cera Impala, Michael Munnik, Jolly Boat, Tom McDermott
Uke Of Edinburgh Award Winner: Ria Lina
Tricity's song topic: Alternative Universes


Friday 24 August
Helen Arney, Molly & Me, Miranda Kane, Shit Theatre, Vanessa Hammick
Uke Of Edinburgh Award Winner: Helen Arney
Tricity's song topic: Beaker from the Muppets


Saturday 25 August
Lisa Kenny, Johnny Setlist, Ben Jones, Mervyn Stutter
Uke Of Edinburgh Award Winner: Mervyn Stutter
Tricity's song topic: Varifocals


Sunday 26 August
Gareth Ellis, Tricity Vogue, Ria Lina, Amie Amis, Josephine Shaker, Shit Theatre, Johnny Setlist, Ben Jones, Lins McRobie, David (Audience Member)

TRICITY VOGUE'S UKULELE CABARET
Laughing Horse @ The Counting House, Ballroom, 38 West Nicolson Street Edinburgh EH8 9DD
AUG 2-26, 2012 at 9.30-10.30pm
ENTRANCE FREE

Here's the show on the Fringe website.

Tricity also hosted a FREE PAINT AND PLAY UKULELE WORKSHOP every Saturday in August between 1pm and 3pm at Rae Macintosh Music shop. More details on the Fringe website.

Extracts from "An Incomplete Manifesto For Growth" by Bruce Mau

In 2004, while I was staying in Edinburgh, my friend Paul showed me an A4 photocopy of some advice for designers which I liked so much I copied extracts from it into my notebook.

I thought of it again just yesterday, while I was toiling over a cover version of a Tom Waits song, and decided to dig it out and have another look at it.

You might find some or all of these ideas interesting too:



1) ALLOW THINGS TO CHANGE YOU
Growth is different from something that happens to you. You produce it.

2) FORGET ABOUT GOOD

3) PROCESS IS MORE IMPORTANT THAN OUTCOME

4) LOVE YOUR EXPERIMENTS (AS YOU WOULD AN UGLY CHILD)
Joy is the engine of growth. Take the long view and allow yourself the fun of failure every day.

5) GO DEEP
The deeper you go, the more likely you are to discover something of value.

6) CAPTURE ACCIDENTS
The wrong answer is the right answer in search of a different question.

7) STUDY
Use the necessity of production as an excuse to study. Everyone will benefit.

8) DRIFT
Allow yourself to wander aimlessly. Explore adjacencies. Lack judgement. Postpone criticism.

9) BEGIN ANYWHERE
John Cage tells us that not knowing where to begin is a common form of paralysis. His advice: begin anywhere.

10) EVERYONE IS A LEADER
Growth happens. Whenever it does, allow it to emerge. Learn to follow when it makes sense. Let anyone lead.

11) HARVEST IDEAS. EDIT APPLICATIONS
Ideas need a dynamic, fluid and generous environment to sustain life. Applications, on the other hand, benefit from critical rigour. Produce a high ratio of ideas to applications.

120 KEEP MOVING
The market and its operations have a tendency to reinforce success. Resist it. Allow failure and migration to be part of your practice.

13) SLOW DOWN
Desynchronize from standard timeframes and surprising opportunities may present themselves.

14) DON'T BE COOL
Cool is conservative fear dressed in black. Free yourself from limits of this sort.

15) ASK STUPID QUESTIONS
Growth is fuelled by desire and innocence. Assess the answer, not the question. Imagine learning throughout your life at the rate of an infant.

16) COLLABORATE
The space between people working together is filled with conflict, friction, strife, exhilaration, delight, and vast creative potential.

17) _______________
Intentionally left blank. Allow space for the ideas you haven't had yet, and for the ideas of others.

18) STAY UP LATE
Strange things happen when you've gone too far, been up too long, worked too hard, and you're separated from the rest of the world.

19) WORK THE METAPHOR
Every object has the capacity to stand for something other than what is apparent. Work on what it stands for.

20) BE CAREFUL TO TAKE RISKS
Time is genetic. Today is the child of yesterday and the parent of tomorrow. The work you produce today will create your future.

4) REPEAT YOURSELF
If you like it do it again. If you don't like it, do it again.

22) MAKE YOUR OWN TOOLS
Tools amplify our capacities, so even a small tool can make a big difference.

23) STAND ON SOMEONE'S SHOULDERS
You can travel farther carried on the accomplishments of those who came before you. And the view is so much better.

24) AVOID SOFTWARE
Everyone has it.

25) DON'T CLEAN YOUR DESK
You might find something in the morning that you can't see tonight.

26) DON'T ENTER AWARD COMPETITIONS
Just don't. It's not good for you.

27) READ ONLY LEFT-HAND PAGES
Decrease the amount of information and leave room for your "noodle".

28) MAKE NEW WORDS
New conditions demand new ways of thinking, which demands new words, which generates new conditions.

29) THINK WITH YOUR MIND
Forget technology. Creativity is not device-dependent.

30) ORGANISATION = LIBERTY
The myth of a split between "creatives" and "suits" is what Leonard Cohen calls a "charming artifact of the past".

31) DON'T BORROW MONEY
By maintaining financial control, we maintain creative control.

32) LISTEN CAREFULLY
Every collaborator who enters our orbit brings a world more strange and complex than any we could ever hope to imagine. By listening to the details and the subtlety of their needs, desires or ambitions, we fold their world into our own. Neither party will ever be the same.

33) TAKE FIELD TRIPS
The bandwidth of the world is greater than that of your TV, or the internet, or even a totally immersive, interactive, dynamically rendered, object-oriented, real-time, computer graphic simulated environment.

34) MAKE MISTAKES FASTER

35) IMITATE
Don't be shy about it. Try to get as close as you can. You'll never get all the way, and the separation might be truly remarkable.

36) SCAT
When you forget the words, do what Ella did: make up something else... but not words.

37) BREAK IT, STRETCH IT, BEND IT, CRUSH IT, CRACK IT, FOLD IT

38) EXPLORE THE OTHER EDGE
Great liberty exists when we avoid trying to run with the pack. We can't find the leading edge because it's trampled underfoot. Try using old-tech equipment made obsolete by an economic cycle but still rich with potential.

39) COFFEE BREAKS, CAB RIDES, GREEN ROOMS
Real growth often happens outside of where we intend it to, in the interstitial spaces - what Dr Seuss calls "the waiting place".

40) AVOID FIELDS. JUMP FENCES
Disciplinary boundaries and regulatory regimes are attempts to control the wilding of creative life. It's our job to jump the fence.

41) LAUGH
Use it as a barometer of how comfortably we are expressing oruselves.

42) REMEMBER
Without memory, innovation is merely novelty.

43) POWER TO THE PEOPLE
Play can only happen when people feel they have control over their lives. We can't be free angents if we're not free.





Bruce Mau runs a Toronto and New York based design studio. The full manifesto is on his website here:
http://www.brucemaudesign.com/4817/112450/work/incomplete-manifesto-for-growth

But I thought it was more fun to copy out the bits I'd written down in my own notebook eight years ago. It looks like I jotted down most of it in the end, but then, according to point number 35, copying might be a good thing to do anyway.

TV
xx

Tretchikoff and the Real Blue Lady

Cabaret singer Tricity Vogue finds the artist who inspired her hit Edinburgh show, and the woman who was his muse
This article was first published in the Erotic Review: The Art Issue in February 2011 http://www.eroticreviewmagazine.com/

On my bedroom wall is a 1960s framed print of a woman with a blue-green face, a golden Chinese gown, jet-black hair and startling red lips. I bought it on the Essex Road in North London from a shop called Past Caring. It cost me £70. My mum remembers when the same print sold in Boots the Chemist in Derby for 11 shillings and sixpence. She also remembers that it was the picture everyone wanted on their walls. The Chinese Girl was once better-selling than the Mona Lisa. Vladimir Tretchikoff, the painter, was compared to Picasso and Van Gogh: primarily by himself. The ubiquity of the image for over two decades was also primarily down to the artist himself, thanks to a combination of tireless self-promotion and bullet-proof self-belief. But then, when you’ve survived a revolution, a shipwreck and a Japanese prison-of-war camp, artistic world domination wouldn’t seem beyond you either.



I’ve spent two years painting my face blue in homage to Tretchikoff’s iconic image for my cabaret show The Blue Lady Sings. I had a sneaking suspicion that the man behind this stylised, high-impact portrait might be larger-than-life too, and I was right. Tretchi, as he was affectionately known, has all the ingredients for a quintessential artist profile. Deprivation and adversity: check. Volatile, quixotic temperament: check. Exotic muse and mistress: check. Plus vivid extras, including some uncannily accurate predictions at a séance, and a couple of brushes with death in a pink Cadillac. Tretchi lived his life in brighter colours than everyone else.



It was a long journey to the self-designed mansion in Cape Town where Tretchikoff died in 2006, and one that took in all five continents. It started in Kazakhstan, where he was born in 1913 to landed gentry, before the Russian revolution drove the family to China. There the now-penniless boy earned his keep as apprentice scene painter at the Harbon Opera House until he was sixteen, when the Chinese Eastern Railway commissioned him to paint portraits of Lenin and Sun Yat San for their headquarters, for the princely sum of 500 Roubles. Tretchi used the money to move to Shanghai. In the “Paris of the East” (as near to studying art in Paris as he ever got) young Vladimir bagged both a plum job, as cartoonist for the Shanghai Times, and a wife – fellow Russian émigré Natalie Telpregoff. The couple moved to Singapore in 1936, where Tretchi drew cartoons for the British Ministry of Information’s anti-Japanese propaganda. In 1938 he represented Malaya in the New York World’s Fair, and his daughter Mimi was born. Then the Japanese invaded Singapore and things took on a darker hue.

Natalie and Mimi made it out of Singapore, but Tretchikoff’s later boat was torpedoed while he was stoking the furnace. As the ship sank, he bagged the last place in the lifeboat when a woman thrust her baby into his arms. The forty two refugees rowed for their lives for Sumatra, only to discover the Japanese had beaten them to it. So Tretchi and a bunch of other survivors turned the boat around and rowed another nineteen days to Java, risking drowning, scurvy and starvation en route. Legend has it that Tretchi used drawings to barter with island tribesmen for the coconuts that kept them alive. Their safe arrival in Java palled somewhat when the terrified locals handed them straight over to the Japanese invaders, who’d got there first, again.

The Japanese hauled the whole boatload off to prisoner-of-war camp, but the five-foot-three artist was, like many small men throughout history, pugnacious by nature. Tretchi protested that he was a Russian citizen and the invaders had no right to hold him. They promptly threw him in solitary confinement, where he was stuck for three months. Then the prison camp general offered him conditional freedom – if he turned set-painter for a Japanese gala show. Tretchi basically painted his way out of jail.

Tretchi was living as a free man in Jakarta, and not only free, but also footloose, since his wife and child were somewhere on the other side of the world, if they were alive at all. Enter the beautiful Leonora Moltema, AKA Lenka, half Dutch, half Malaysian, and all woman. The Tretchikoff website describes Lenka as “a woman of culture and intelligence… an artist herself, and mistress of five languages”. The choice of word is apt, since Lenka was indeed Tretchi’s mistress as well as his muse and model. An elderly Tretchikoff told documentary filmmaker Yvonne du Toit in the 1990s that she was the love of his life.


Lenka told her own story to Uri Geller, a firm friend in later years, thanks to their shared interest in the supernatural. Her husband, a Dutch pilot, was, like Tretchi’s wife, somewhere overseas in limbo, and, on the night she first met Tretchikoff, he looked at her across the dinner table in an uncomfortable way, then asked her to pose for him naked. When she bridled at the suggestion, he laughed at her prudishness, telling her that only if every part of her figure was perfect would he consider painting her, and if he did, she would be a lucky woman. Lenka knew “the Mad Russian” already by reputation: by night he painted portraits for 40 guineas a canvas, but refused to sell the canvasses he painted for himself by day. She posed for him every Sunday in his tiny lodgings. It took longer to finish the picture than it did for Tretchi to get Lenka into his narrow bed.

The artist moved in with Lenka, but would only make love at weekends, because he claimed he was unable to paint for twenty four hours after sex. Even less congenially, their love-nest was continually raided by Japanese soldiers, convinced that Tretchi was a spy. One night he was arrested on suspicion of blowing up an oil tanker, and slashed with a ceremonial sword during the interrogation. The superstitious Lenka visited a wise-woman and promised to give up what was most precious to her in exchange for Tretchi’s freedom. When he was released without charge two days later, she gave the old woman her most valuable batik.

But was the batik Lenka’s most precious treasure, or Tretchi himself? It wasn’t long before she had to give him up too. It began when she took him to a séance, at which the previously sceptical painter asked the spirit guide where his wife and child were. The answer came back: S.O.U.T.H. Tretchi subsequently put the Red Cross on the trail of the supernatural tip-off and tracked down his family in South Africa. But before leaving the séance, the artist had a few more questions for the spirits. “Will I become a famous painter, and how far will my fame spread?” W.O.R.L.D. “What will be my most famous painting?” O.R.I.E.N.T.A.L. L.A.D.Y.

Lenka disappears from the official biography of Vladimir Tretchikoff as soon as he set off for Cape Town to be reunited with his wife and daughter. But that is no way to write out a muse from any artist’s story. Luckily she herself has shared a little more with her friend Uri Geller. Tretchikoff went to South Africa with her blessing because, she said, she could compete with any woman but not with his child. She even helped him pack his canvasses, which he’d been hoarding for years ready for the one-man exhibition that he was certain would make his fortune. Lenka extracted one promise from him: to give a canvas to his wife Natalie. He did, and the canvas she chose was the portrait of Lenka wearing a red jacket. “Wearing”, that is, in the loosest sense, since all it covers are her shoulders. Did Natalie know that Lenka had been Tretchi’s de facto wife throughout the war years? Why did she choose to have her love rival’s triumphant breasts pertly waving at her from the wall every day?



Tretchi’s portrait of his mistress is in stark contrast to the portrait of his wife. Like so much of the artist’s work, subtlety doesn’t come into it. Whereas Lenka is a feast of warm naked flesh set off by a “scarlet woman’s” jacket, Natalie The Artists Wife is clad in brown, with skin of a blueish tinge, in arguably Tretchikoff’s drabbest colour scheme ever. Vladimir boasted that living with him was sometimes heaven, sometimes hell, but usually purgatory. “Longsuffering” is the word that springs to mind looking at the portrait of his wife. Who knows? Perhaps his muse Lenka had other reasons for “giving him up”. Maybe two years of keeping house for a fastidious and demanding artist were enough for her.

What’s more, when Tretchikoff took off with his hoarded canvasses on his phenomenally successful world tour (as predicted by the spirit guides, and funded by the spiritualist Rosecrucian Order, in a self-fulfilling prophecy), he was not constrained by the need to paint during the day, and was therefore able to cast off sexual abstention. So Tretchi hooked up with his old flame again in London in 1958. While over 200, 000 people flocked to his one-man exhibition in Harrods, Tretchi took Lenka to bed for what she described as a four-day lovemaking marathon. That’s when Tretchi confessed to his mistress that he had sold the Red Jacket painting, even though theoretically it belonged to his wife so wasn’t his to sell. Lenka was appalled and warned him he would have bad luck without her portrait.

Tretchi took no notice of his mistress’s warning, but not long after his return to South Africa, his pink Cadillac overturned in a road accident. It took a transfusion of 20 pints of blood to bring him back from death’s door. Still Tretchi didn’t buy back the portrait of Lenka until he was nearly killed a second time in another car crash. Then finally he conceded his muse might have a point, reacquired Red Jacket for his wife, and lived to be 92.

As for the Chinese Girl - the painting I bring to life in my cabaret show, and the one looking down at me mysteriously from my bedroom wall – it isn’t Lenka. At least, not officially. The first model for the painting was said to be a member of South Africa’s Chinese community. But according to other accounts, the painting, completed in 1950, was begun in Java in 1946, before Tretchikoff got to South Africa. To complicate matters further, the portrait we know is not of the first sitter anyway. The original canvas of the Chinese Girl was slashed, along with 14 others, when intruders broke into Tretchi’s Cape Town home, enraged by the artist’s controversial drawing Black and White, which caused outrage throughout Apartheid South Africa.


The second model for the Chinese Girl was reputedly the daughter of a restaurant owner in San Francisco. Yet there is something Eurasian about the features of the woman with the blue-green face in the painting. By 1950 when he finished the picture, Tretchikoff had been apart from his half-Dutch, half-Malaysian muse for four years. And South Africa was a long way from the oriental lands where he had first found the inspiration to paint. Tretchikoff himself said his paintings were not real women’s portraits, but a fantasy of womanhood from his own imagination. Whoever sat for him in a golden Chinese brocade gown, whether in South Africa or in San Francisco, the real “blue” woman who epitomised longing and absence in the artist’s imagination wasn’t either of them. It was Lenka, the woman who wasn’t there.



Tricity Vogue’s debut album, The Blue Lady Sings is available from her website: tricityvogue.com
Her one-woman show will appear at the Brighton Fringe Festival in May 2011, and the Edinburgh Fringe Festival in August 2011.

Photograph of Tretchikoff and Lenka by kind permission of Yvonne du Toit

All other pictures by kind permission of the Tretchikoff Foundation

All About The Costumes

I love dressing up. That’s the reason I was lured away from ‘serious’ jazz (if I was every serious in the first place) and into cabaret. To me the whole point of being on stage is the excuse it gives me to wear a really fabulous gown. The Blue Lady has not one but two costume designers, because she’s even more high-maintenance than her creator. The look of the original 1958 painting by Vladimir Tretchikoff (once available, framed, for eleven shillings and sixpence from Boots The Chemist, and a must-have in every 60s home) was recreated by production designer Salvatore Forino. Salvatore also persuaded the Japanese wig dressers working on Theatre de Complicité’s show at the Barbican to show him how to set the wig like the painting then bake it in the oven for eight hours so it would hold the shape. “This is not real hair!” they said, appalled. I bought it for £12 from Brixton Market, so I’m not surprised.

The Blue Lady’s 1920s blues vamp costume was created by fashion designer Stephane St Jaymes, who’s been making me larger-than-life creations for six years now. It includes £75-worth of sequinned fringing, and by sheer coincidence it exactly matches the description of a fantasy dress I included in a short story called Gown Envy I wrote about five years ago.

In the last couple of weeks before the Edinburgh festival I was ricocheting across London between these two geniuses with arms full of crystal organza, paper flowers, Indian brocade, and long round tubes of foam as they magicked up two more incarnations for the Blue Lady specially for my Fringe run.

You can see the fruits of their labours in this photo album:

http://www.facebook.com/album.php?aid=190528&id=538496777&l=36e5afb98a

25 Confessions about how I became what I am

1. I am named after a fridge. I was given this name by my best friend, Edward Hollis, while staying with him in Edinburgh in 1995, 9 years before Tricity Vogue came to life and performed on stage under the name. Ed’s mother had a 60s fridge with the words “Tricity Vogue” inscribed on it. She may even have it still, somewhere in darkest Totnes.

2. Edward Hollis is therefore the begetter of Tricity Vogue. This is the nearest I ever got to consummating my deep love for him. He is the man for whom and about whom I wrote the song “The man I love loves only men”. http://tricityvogue.com/Music/the_man.htm. Loving someone you can’t have is quite possibly the most powerful creative inspiration there is.

3. I first had the idea for who Tricity Vogue would be in 1999 and I pitched it to a woman who ran a cabaret agency. “I can’t see the point of hiring a woman to wear fabulous gowns and sing jazz songs,” she said. “I might as well hire a drag queen who can do it better.” I confided what she had said to my boss and mentor of the time, physical theatre guru Joss Houben (http://www.guardian.co.uk/stage/2008/jan/16/theatre), and he told me to take absolutely no notice and do what I wanted anyway. It took me 5 years to follow his advice. “Do as you please” is, ironically, one of the hardest lessons to learn.

4. Performance poet Aoife Mannix was the midwife of Tricity Vogue. She it was who in 2003 took me along with her to a poetry and music night, where she was featured on the bill, and insisted that I put my name down for an open mic spot. The open mic performer before me was so terrible that the host decided to ditch the next spot, but by that time I had geared myself up to perform, so I browbeat him into letting me have the microphone by promising to be quick. I told the audience that my Big Band had stood me up, so they would have to imagine them on stage with me, and then I sang my song “Well I didn’t want you anyway” acapella.

5. I have sung with a real life 22-piece Big Band only once in my life. It was about 12 years ago, in Nottingham. My first couple of numbers went well, then I got pissed at the bar with a seasoned old jazzer who kept buying me drinks and telling me about 1930s singers I sounded a bit like. When I went onstage to sing my final number, Hey Big Spender, I started singing in the wrong place. Half the band followed me and half of them followed the score, with the result that the whole number collapsed. The conductor managed to bring them back together to finish the tune and give me the Look of Death at the same time. Funnily enough they never invited me to sing with them again, and I learned a valuable lesson about drinking on the job. Honest.

6. I wrote my first “Tricity Vogue” song “Well I didn’t want you anyway” the day after a night of romance with a work colleague. Under the eyes of the whole office, I had invited him for a coffee, and when we were alone I asked him if I could see him again. He told me he was too neurotic for a relationship. I told him I didn’t want a relationship, just another shag… but nothing doing. I wrote the lyrics (and the tune, in my head) as soon as I got back to my desk, and emailed them to a friend, who emailed me back with the words, “You’re mad.” http://tricityvogue.com/Music/well_i.htm http://www.youtube.com/watch?v=CfSo4um8Y8A&feature=channel_page

7. Rosa Conrad is the Fairy Godmother of Tricity Vogue. All I had were a bunch of melody lines and lyrics, and no idea how to turn them into proper songs that a band could play. I sang them to Rosa and she put chords to them and made them real. She was always baffled by my awe at this feat: “But the chords were implied in your tune already,” she protested. I maintain that she has Magic Ears.

8. The words and tune to “Under Your Thumb” were written after a conversation I had about my love-life while on my way to the gym. My confidante remarked “Well, you’ve certainly got him under your thumb.” I told her that actually it was the other way round, and then I wrote the whole song in my head, including the key change, while I was getting changed into my yoga kit in the locker room. http://tricityvogue.com/Music/under_your.htm

9. I came up with “St Tropez” after a Fat Cat gentleman friend of mine told me he wanted me to write a song about him. I don’t think this was exactly the song he was hoping for. He stopped taking me out for expensive dinners shortly afterwards. http://tricityvogue.com/Music/st_tropez.htm

10. The worst chat up line anybody ever used on me was “You’ve got great ovaries.” This did not work on me, and neither did the seductive prod in the stomach that went with it.

11. The worst post-seduction line anybody ever used on me was “We have barely scratched the surface of our relationship, and already I’m infected.” I left him to lick his wounds on his own.

12. The most effective chat up line anybody ever used on me was “I am dying of a fatal illness. You may be the last lover I ever have.” He’s still alive and I wasn’t.

13. Dress designer Stephane St Jaymes was the Nursery Nurse of Tricity Vogue. While we sat together discussing ideas for my first dress, we also debated Tricity’s family history. According to Stephane, Miss Vogue was conceived when the Royal Train came off the rails somewhere in Yorkshire, and the King invited a local northern wench to come and entertain him in his carriage while he waited for his train to be fixed. Alternatively, I suspected that Miss Vogue’s mother had worked behind the bar in a northern Jazz Club, and was such a conscientious groupie that she was unable to identify which of the many jazzers to pass through her establishment was the father.

14. My first band was called The Tricity Vogue Sextet. There were only five of us but I thought of my dress designer Stephane as the sixth member of the band. Also, I wanted to call the band something with the word ‘sex’ in it. We performed our first gig at the Lincoln Lounge, Kings Cross, on Tuesday 16 March 2004. Stephane was still sewing me into my gown in the Lincoln Lounge’s beer cellar minutes before I first walked on stage. Stephane’s best friend Darcy added the final touch by painting in my lips in bright scarlet and adding huge dollops of lip-gloss. I had been planning on keeping my make up subtle. However, there was no mirror in the beer cellar so I was none the wiser until after the gig. I have never looked back.

15. On the day of my first band gig I took the day off work to prepare, and that afternoon while I was walking along Neal Street in white sunglasses I was stopped by a young man who asked me the name of the band I was in, because he could tell just by looking at me that I must be in a band. I took this as a good omen.

16. That same afternoon I bumped into an old flame while walking along Carnaby Street. He was with a bunch of work colleagues, who were evidently Very Important People. When he saw me he did a double take, tripped over, then pretended not to recognise me. I decided that this was the urban equivalent of a black cat crossing my path.

17. At the beginning of my first band gig I annoyed Donald the then barman of the Lincoln Lounge immensely by badgering him to turn off the lights so I could come on in the dark and do a ‘gown check’ before the band started, then turn them on again for the first number. At the end of the night, after everybody else had gone, he told me that I had a nice personality and everything but I really needed to work on my singing voice because I had murdered a couple of the numbers. I was, naturally, devastated. When I reported this feedback to Stephane, he informed me that he recognised Donald from Madam Jojo’s and that Donald was in fact an ex drag queen who had him(her)self frequently sung on stage. Stephane attributed Donald’s critique of my performance to ‘gown envy’. On learning that my critic was a drag queen, the rest of the band burst into a rendition of “Donald where’s your trousers?”

18. I learned how to put on false eyelashes from Stephane, himself an ex drag queen, and he also gave me my first lessons in stagecraft, based on what he had learned during his own time wearing gowns (before he got bored of having to wax his chin every day - something which I don’t have to do, luckily). “Never mind what the band are doing behind you,” he said, “You can’t afford to take your attention off the audience for a moment, or you’ll lose them.”

19. I learned my first ukelele chords from my singing partner Miss Honey Mink, who has a dayjob as a children’s entertainer and runs a ukelele class for children called “Uke Can Do It”. The first time I played ukelele on stage was with her, at Cheese and Crackers on the Battersea Barge. She and I walked on in our evening gowns and explained our Big Band had stood us up, so we were going to recreate the Big Band sound on two ukeleles instead. We then performed the Big Band Blues together. http://tricityvogue.com/Music/big_band.htm
At the point where the horn section should have come in, Honey launched into a kazoo solo that brought the house down. From that night on I was hooked on the ukelele and bought my first pink Mahalo on ebay shortly afterwards.

20. The first song I wrote on the ukelele was “Aint Gonna Get No Sleep Tonight” about waiting in for a booty call. http://www.youtube.com/watch?v=AwUxtrITgVI
The tune is a straight rip-off from a spiritual called “Joshua fit the battle of Jericho”. Only one audience member has ever spotted this, and he was a jazz buff from New Orleans. Luckily, he didn’t seem to mind, and even thought my act of profane plagiarism was in the true spirit of jazz.

21. In 2008 Stephane made me a new black and white gown for the Tricity Vogue Slinktet’s gig at the Scala for White Mischief. Once again, it wasn’t finished until the last moment, and Stephane had to thrust his way past the bouncers on the door to bring it to me in the dressing room, where he proceeded to shoehorn me into it in a manner that caused even the world-weary Mr Dusty Limits to raise his eyebrows. When I was about to go on, I realised that the dress was so tight I couldn’t actually lift my legs to climb onto the stage, and had to ask Mr Limits to give me a hand up. Stephane pointed out afterwards that I could have actually hitched the skirt up. This did not occur to me at the time.

22. After I came off stage at the Scala in my new gown, I shared a cigarette with Stephane down in the smoker’s courtyard, and he said to me, “You are the best drag queen I know.” I glowed with pride.

23. Shortly afterwards my boyfriend dumped me for looking too much like a drag queen and not enough like a real woman.

24. Tricity Vogue is about to give birth to a daughter – the Blue Lady. The birth of this new cabaret character will take place at the Royal Vauxhall Tavern at Dusty Limit’s night Kunst on Friday 27 February. The Blue Lady will be born exactly nine months after my boyfriend dumped me. My ex is therefore the begetter of the Blue Lady. Dusty Limits will be her Midwife, production designer Salvatore Forino will be her Nursery Nurse, and Rosa Conrad will, once again, be her Fairy Godmother.
www.myspace.com/kunstuberalles

25. Creating the Blue Lady is my way of dealing with the break up, in lieu of throwing plates, screaming or losing the plot generally. Then again, maybe painting my face blue and dressing up as a painting is losing the plot. Or maybe losing someone you love is the most powerful creative inspiration there is.

Recorder Rebels

Bonding with your gig-mates is one of the things that makes gigging so delightful (among many other things, because, let's face it, as jobs go, it's not exactly going down the mines), and when someone you think is really brilliant rings you up and says "Will you do a gig with me?" it makes you feel a bit like a teenager being asked out on a date by the person whose name you've been writing on your exercise book for months.

A couple of weeks before Christmas I was waiting in the Playhouse theatre lobby, about to go and see La Cage Aux Folles, when I got just such a dream phone call from guitarist and ukeleleist extraordinaire, Martin Wheatley. He asked me if I'd do a gig with him that Saturday for a birthday party at a venue near Euston. Now this is the man who I've not only heard accompanying the stunning Cousin Alice with exquisite lightness of touch, but also the man who can play 'the dam busters' on a single ukelele and make it sound like the entire orchestra. I said yes immediately, even though I already had two gigs on that Saturday - one in the afternoon, and one late night - and the reason I said yes was purely and simply because it was Martin, and I knew that getting the chance to sing with him was going to be like a Christmas present all by itself.

Then it turned out that the gig he was asking me to do was the very gig that I'd actually turned down a few days before because I was already booked up. And so I had been - until Martin asked me. See what happened there? I got seduced into doing the gig purely and simply for the pleasure of working with one of the best musicians in London, and sure enough it turned out, miraculously, that there was room to fit a third gig in between the other two after all. If any musician ever tries to tell you that they're only doing it to make a living, don't believe them. They're doing it because they love music. (This is why musicians almost never get paid what their services are actually worth.)

Martin picked me up in the car from Volupte after my afternoon gig, and gave me a lift to the bar where the gig was - but when we got there we discovered that we were an hour and a half early, and the venue was locked and dark. So we pulled into a parking space around the corner and ran through a few numbers together on the ukeleles, using a torch to light the cab of his people-carrier enough to see the chord charts - because we hadn't actually had a chance to rehearse a single thing beforehand. This may seem shocking - either the bit where I'm sitting in a parked car in the dark while a strange man gets his instrument out, or the bit where he and I are about to play a 90 minute gig completely unrehearsed (which one you find the more shocking will depend on your musical background, probably).

But it's not really that shocking when you consider that there is a huge back catalogue of jazz standards that most jazzers know like the back of their hands, all of which Martin has been playing for decades probably, and many of which I've now been singing for 15 years too. All the musicians need to know is the singer's key, and they're off. And as for me, I never have a clue what the tempo and the style is going to be until they start - which is exactly why I've always got such a kick out of singing jazz with a 'scratch' band. It's a musical rollercoaster. The Slinktet have been going for nearly 5 years now and I absolutely love rehearsing and performing our own material, but I also get a wicked thrill out of going back to my old edge-of-seat ways and flying by the seat of my pants for the odd gig too. Especially when the musician flying the plane is as skilled a pilot as Mr Wheatley.

Having run through a few numbers quickly that we'd both be able to do on ukelele together, Martin pulled his car around to the front of the bar again, only to discover that it was still closed. So back we went to our backstreet parking space. But instead of doing some more rehearsing, we started to chat about how we'd first got into music as children, and a conversation began about our first instrument - the recorder.

It turned out that we had both ended up as musicians despite, rather than because of, the start that we'd had on that unassuming little instrument. Martin revealed that as a child he had actually been thrown out of his school recorder group. Why? Because he had been caught cheating. How had he been cheating? Shockingly, instead of sight reading the music in front of him, he was listening to the tune and copying what was being played. This was considered extreme disobedience by his music teachers, hence his expulsion from recorder paradise.

My own recorder misadventures began when my grandfather (who was an antiques dealer, rather more of the Arthur Daily than the Lovejoy school of the genre), gave me a bakelite recorder so I could join the school recorder group (from which I'd already been excluded for a year by the fact that my parents considered it a waste of money to splash out on a bit of plastic for me to blow down). Unfortunately the bakelite recorder, while a charming antique to look at, was out of tune with all the other recorders in the school recorder group. Thus, whenever we played a tune, there was always that hideous buzzing sound that you get when somebody in the group plays the wrong note. Except in this case, nobody was playing a wrong note, it was the recorder itself that was out of tune, as my recorder teacher discovered when she took the offending instrument off me and tried playing it herself.

After (I suspect) a discreet word in my parents' ear, I finally got a proper bona fide Aulos soprano recorder of my own (which I still have somewhere, complete with deep teeth-marks on the mouthpiece). But my recorder misadventures didn't end there. A few years later my mum gave me a note to give to my recorder teacher. I didn't read it (because I was that kind of a goody goody kid) so I had no idea what my mum had said in it, until my recorder teacher called me over after practice and said to me very gently that it was okay to make the tune up by listening to it and then copying it, because that was actually something called 'playing by ear' rather than cheating. So I wasn't to worry about the fact that I wasn't doing it properly - in fact I should be proud of the fact that I was able to play by ear because in fact that was actually a gift that not everybody had. To be honest I was a bit baffled by this little pep talk, because I wasn't aware that I'd been doing anything wrong in the first place - my mum hadn't actually shared any of her concerns about my musical shortcomings with me - she'd just gone straight over my head to the teacher. And, in fact, it never occurred to me to report back to my mum what the teacher had said. So my mum went on thinking that I was a musical retard - possibly to this day, who knows?

I still can't really read music, to be honest. That's where years of cheating gets you. But what I can do is sing, unrehearsed, with someone I've never sung with before, in front of an audience, and sound like I know what I'm doing. It's the ultimate bluff. Except it turns out not to be a bluff at all, but, in some people's books at least, what you're actually supposed to do.

"Just Be Yourself"

When I was little my mum always used to dole out the same piece of advice whenever I was stressing about something I had to do in front of people: Just be yourself. As soon as I would hear this I would be crippled by anxiety: I didn't know how to do that because I didn't know who 'myself' was. My mum was always baffled by her strange, apparently alien, daughter, who seemed to be making a meal out of what to her was the most basic and fundamental of tasks. Why couldn't I just walk into a room like a 'normal' person without twitching obsessively at my clothes and shrinking into myself, or talking in a weird put-on voice and using words that I didn't really understand the meaning of? Admittedly my mum snapping at me "everybody's noticing you fidgeting with your dress like that" did not make matters any better, although in retrospect I can see that all she was trying to do was snap me out of what was, to her, a strange and unhealthy self-consciousness.

I was round at Pete Saunders' place today, rehearsing with him in his shed (don't knock it, he's got a proper studio set up in there, complete with PA system and a Roland keyboard with all the boy-toy piano voices you could ever desire, including a 'scat vocal' one which kept him happily amused for hours today), and when we stopped for lunch we were discussing the things we learn with more years performance experience and I was saying that newer performers are less able to be themselves on stage. Then I realised something: that the quest to learn how to be myself - onstage and therefore consequentially offstage - was probably the drive that started me performing in the first place.

Is it because I didn't know what to do when my mother instructed me to "just be myself" that I became a performer at all?

I suggested to Pete that all performers do it because they are secretly looking for an answer to the question "How do I be myself?" Pete disagreed - he said that the thing that probably drove him into performing when he was a teenager was a desire to escape the need to answer the question "Who am I?" altogether.

So there you have it. The difference between male and female performers. And/or possibly the difference between males and females full stop. The girls are looking for an answer to the question "who am I?" and the boys are looking for a way to avoid ever having to answer it.

Deep. (Or possibly not.)

xxx

I just can’t get you outta my head you b***ard

Just got back home from a rehearsal with the band in the Cellar of Joy and I'm a bit pissed, as I took along a bottle of finest South African Sabernet Cauvignon from Lidl (only £2.99 because of the typo on the label). I've just had a lovely evening playing through our set for tomorrow's gig at Volupte, and I must say I thought we sounded better and better as the evening went on and I got through more and more of the bottle. Even though our new bass player Warwick "the thumb" Johnson didn't make it. He rang up to explain he was trapped because he lives in Finsbury Park and there was an Arsenal match on which meant that he couldn't drive in or out of his street without sitting in a queue of traffic for an hour. He told me very apologetically he'd had no idea there was a match on tonight when we booked the rehearsal.

It was only when I got to the rehearsal and passed on this news that Sir Fitzroy informed me that The Thumb is a massive Spurs fan, and Spurs just happen to be playing Arsenal tonight. I was shocked - surely you don't mean he might be watching the match? Fitz, who is also an ardent Spurs fan, just raised his eyebrows quizzically. But I wouldn't think that of The Thumb for a moment, as Spurs fans, in my experience, are men of honour. I know absolutely nothing about football, but my dad is a Spurs fan, and of course he is the man my heart belongs to, and what's more I have been dumped by not one but two avid Arsenal fans, so I know which team I'll be offering my services to should they ever require a jazz singer at any point to do a spot of scatting for morale purposes.

Tonight we were determined to break the mould of Slinktet rehearsals and bash through the set list in an efficient and focused manner instead of pissing about and telling bizarre anecdotes. We were doing fairly well until Connie Vanderlay came up with the game of putting "you b***ard" after every one of our song titles:

Peel Me A Grape You B***ard
Should I Stay Or Should I Go You B***ard
Why Don't You Do Right You B***ard
Sweet Dreams You B***ard

and so on.

Then Fitz started an anecdote about a trombone quartet him and his mates once decided to form called "The B***ards" (pronounced to rhyme with cards or shards) because they were always calling each other b***ard. I was unable to ascertain whether this level of rudeness is exclusive to trombonists or applies to all brass players. (Maybe they should form a group called The Brasstards.) This prompted our arch anecdotalist Earl Mysterio to remember a story about an elderly waiting punter telling the man next to him how much better it was using a ticketing system rather than having to queue - because some "cheeky bitches" had pushed in front of him in a queue the day before, so he'd spat on them, so they'd called him a "b***ard", so he'd asked them if they had any evidence that they'd been born in wedlock themselves.

By this point the conversation had moved a very long way away from what we were supposed to be talking about, which was whether the stabs were on the beat or ahead of the beat in My Side of the Bed. Miraculously however we did manage to get through the whole set by quarter to ten and hit the road. I left the last glass of wine for Mysterio so I could cadge a lift home with Connie, who has just dropped me to my door because it was cold out and she is an angel.

Do you know, this band has been together for four and a half years now and I still love hanging out with them - in fact I love hanging out with them more than ever. Rehearsals are getting to be one of my favourite things, even when they're conducted in a subterranean cellar with no heating and walls that shed chalky white deposits on your clothes - because when I'm at a gig I'm running around looking after the guest acts, or chatting to the audience, and I don't actually get any time with the other slinkers. But when we're rehearsing I get to be entertained by Mysterio's frankly surreal stream-of-consciousness stories, and Fresh's bon mots from behind the drums, and I get to actually look at my fellow slinkers instead of having my back to them the whole time like I do at a gig. And I even get to sit down.

You lovely lot, you were sounding well groovy tonight. And that's not just the Sabernet Cauvignon talking

xxx

Nights at the Office

I love my job. Because the place everyone else goes to get away from the stresses and strains of their job is actually the place I go to work. Which means my office is basically a cabaret club. And the things that are glamorous and escapist for the punters become my routine – it’s like everything’s flipped upside down. Now I’m gigging more often I’m generally at Volupte once or twice a week, and, as always happens once something starts to become more regular, patterns and rhythms begin to establish themselves. Here are some of the ritual patterns of a typical ‘night at the office’.

There’s the meet-and-greet/soundcheck when everyone arrives dragging their gig bags on wheels, and we somehow manage to squeeze in a brief discussion about what numbers we’re going to do in between the conversations about who’s got a new coat and where it’s from (Amber Topaz wouldn’t tell me, to my frustration, even though hers is a one off anyway, so there is no danger of me turning up in a copycat green wool trench) and who’s in what state after last night and why (this conversation also includes the club staff as a rule, who are much more dedicated partygoers than us lightweight performers). Some people take the sound check more seriously than others. Amber’s is like a whole extra floorshow on top of the one she gives for the punters. Yesterday the band were running through “hot stuff”, which Beverley had just rehearsed with them, unbeknownst to Amber, and Amber jumped on the mic and started singing “I want some hot stuff baby tonight” in a broad Yorkshire accent. Beverley’s little face fell: “I’m not going to be able to sing that seriously now.” But she pulled it out of the hat for the show.

Next come the dressing room rituals, involving claiming your bit of mirror and starting work on the make up, with accompanying ‘make up chitchat’ which can cover everything from the current economic climate to who would and who wouldn’t shag Beth Ditto. There’s generally some issue or other with nipple tassels, or pasties (not pronounced the Cornish way, incidentally – I remember being sternly corrected on that point by Gwendoline Lamour). Yesterday the issue was two burlesquers with the same set of black tassels. It’s bad form for two girls to go out wearing the same pasties, apparently – so one party nobly agreed to wear her Swarovski crystal ones instead, even though they were heavier and harder to twirl. Incidentally, I also learned that Anne Summers’ black nipple tassels are very hardwearing and an excellent buy, but the pastel coloured ones are rubbish as they shed diamante – so don’t buy those (in case you were planning to).

Then there’s the arrival of the wine, which is always a high point. It’s generally delivered to the dressing room with a great flourish by the manager and met with squeals of appreciation. There’s always somebody who insists they won’t have any, then changes their mind as soon as it’s in front of them. Everybody has their foibles about what they need to drink before they go on. I have this neurotic need to down loads and loads of water which annoys the staff while they’re trying to set up because I’m always nicking water out of the jugs they’ve got ready for the customers, or helping myself from the tap behind the bar which is meant to be out of bounds to performers. Dusty Limits will only drink white wine before he performs, because red wine is too heavy and clogs him up. I’d been on the red wine before I went on the other day and I noticed it had given me purple teeth – but Dusty told me if I drank enough white wine it would cancel it out. So I did. It’s always a pleasure to discover new excuses for drinking more alcohol.

Another favourite part of the routine is the bit where you get your dinner. It’s always a lottery, what the staff food is going to be, but on a good day it’ll be something fabulous like stuffed chicken breast and dauphinois potatoes. Sometimes it can look a bit weird, like the pumpkin lasagne, but it’s important to keep an open mind until you’ve tasted it. The girls all flirt outrageously with the chefs (and so do some of the boys) so they’ll feed us extra treats. I got a secret rum cheesecake all to myself the other day. I do think that giving people free food is one of the nicest things you can do for anyone – but especially for hand-to-mouth types like musicians and performers, who will generally spend their hard earned gig money on drink rather than waste it on a proper dinner. At least somebody’s looking out for us to make sure we get a square meal.

Then comes the show itself, when you’ll step onstage and do exactly the same material you did at the last show and it will somehow weirdly come out completely different - because it’s the audience who give every show its own vibe. Another big part of the routine is a backstage discussion about the nature of the audience. Small but lively? Packed out but really flat? Into it but drunk and noisy? Polite but a bit on the quiet side? Or totally loving it? The quieter the audience, the harder work it is to win over the room – I’ve seen performers come off stage dripping with sweat and shaking from the effort of exuding energy. Sometimes you can really feel like it’s been a damp squib, only to have people from the audience coming up afterwards saying what a fantastic show it was and how they were completely blown away. They were just being blown away quietly. One of the great things about doing Pete Saunders’ Burlesque’n’Blues shows is that we do everything with a live band – singers and burlesquers alike – and there’s always something ad libbed and impromptu, or some collaboration, rather than everybody just doing their own thing one after the other. I had to get singer Buck Svizz on stage to be my stooge for my song “Sneaky” once because there wasn’t a single man in the audience (it was Saturday afternoon tea – which is hen city), and he walked onstage still eating a scone. There happened to be a line in the song that went “and what is the occasion that has merited you giving me these flowers – and cake?” and on that line Buck started pelting me with bits of scone. Brilliant. It was like the whole thing with the cake was a set up ready for that line, when he didn’t even know it was coming. This week the impromptu moment was an on-the-spot ensemble rendition of Hit The Road Jack as the finale. We had three girls around the mic belting it out, and even made up a dance routine. I’m not sure what the audience made of it - but we enjoyed ourselves.

The other ritual element to every gig is the storytelling. An old flame once told me that artists are longer lived than everyone else, not because they live more years, but because they pack more experience into their lives (he was speaking with authority as an accountant). But it’s not only the actual lived experiences us arty types pack in, it’s all the imagined ones as well – and all the ones we collect from each other in the form of pre and post gig anecdotes. These anecdotes are an integral part of the gig routine, mainly because, as a famous musician once said, performing is about 10% stage time and 90% waiting around. (This quote was offered up by the Slinktet’s guitar supremo Earl Mysterio as an anecdote to fill our own waiting around time before a gig. I now can’t remember who the famous musician was, which is a bit rubbish. Probably someone from a cool boy’s band, like The Rolling Stones or something.) The function of gig storytelling is thus to fill the waiting around percentage of the evening. The stories can be about anything, but ideally, they will reveal some behind-the-scenes secrets or describe a shocking and extreme experience that happened to either the storyteller or their ‘friend’.

My ‘day job’ is meant to be writing stories, but I have to admit that time after time my feeble attempts at anecdotage pale in comparison to those offered up by my colleagues. Pete Saunders, being slightly longer lived than the rest of us (strictly in the ‘artist’ sense outlined above, of course), has some of the best. I talked about the time I wrote off my car skidding on an oil spill, and he topped it with the time he rolled his car over three times, miraculously got out, then had to decide whether or not to risk going back to free his girlfriend from the wreckage before the car blew up (he did – because he decided the social embarrassment of leaving her in the lurch outweighed the risk of being burnt to a crisp). I had a story about going to a carol service in Armley Jail when I was a kid which Vicious Delicious topped with a story about how she used to rent a flat in the Brixton prison complex with windows overlooked by all the prison cells, and got treated to a running commentary on everything she did in her flat from the prisoners. I also enjoyed the stories about what bored musicians get up to on the big musicals, after they’ve been performing exactly the same score, note for note, for a year. The entire orchestra playing a whole show naked on the last night of the run was my favourite.

I’m back at Volupte twice next week – on Tuesday for the Lost Supper, and on Thursday for Club d’Amour – which means more treats. If I’m lucky, another chocolate cheese cake. And if I’m really lucky, some even more outrageous gig anecdotes to add to my collection. Plus, I’ll get to wear my gorgeous new black and white gown as well, which is a bit like getting to wear your wedding dress twice in one week. As jobs go, it’s not bad, is it?

xxx

Field Report

Okay so it’s well over a month since I got back from my last festival, but since the photos from the Bestival antics have only just been posted online I feel both comforted that I am not the only one taking ages to record my summer and also spurred into finally getting around to jotting down a sort of addled postmortem diary of my own various festival misadventures.

I actually blagged like mad to get to go to Camp Bestival, because my brother and sister-in-law were coming over with the kids from France for it and I thought it would be a bit special to meet up with them in a field. The very splendid Zoe of Time for Tease let me come and play her tent, after I nagged both Paul Martin and Kitty Bang Bang to put a word in with her for me. I gave Kitty a lift in my little Nissan micra and we shared my fish tent – we had great plans for a ‘Thelma and Louise’ adventure, which was a bit slow in getting started after I failed to get out of bed in time for that early start I’d been planning, although Kitty seemed strangely relieved to hear I’d be at least an hour late. When I rang her she picked up the phone and went “I’m awake! I’m awake!” which was somewhat suspicious… Then we had to stop en route so Kitty could buy a crate of cider (I’d bought my vodka and Pringles the day before so I was all stocked up with the essentials already). Then we had to turn back when Kitty realised she’d left her mobile phone at home. “If you realise you had it with you all along,” I warned her, as we crawled back through the north London traffic, “don’t tell me.” “I won’t,” she promised. When she bounced back in the car and I asked her where it was, she promised she’d found it by the side of her bed, and looked suitably sincere. Once we got to the actual festival she ran out of credit after the first day, so a fat lot of good it did having her phone with her anyway. She was bouncing off the ceiling with boredom four hours into the car journey, while we were stuck in the queue to get onto the festival site. Two hours to get to Dorset and another two hours to get two miles down a country lane. But we did succeed in erecting our fish tent and inflating our double air mattress with fearsome efficiency, which may have had something to do with the fact it was raining.

The next day Paul L Martin turned up, somewhat anxious because he hadn’t braved a festival since he was seventeen, asking Zoe if her tent was ‘open’ so he could put his bag inside? I explained to him that tents didn’t actually have locks. But he was almost totally converted to the festival experience after learning to knit in the knitting tent, and spending Saturday night dancing on a chair to cheesy disco in the Lauderetta’s travel agency. Meanwhile Kitty and I lost each other on Saturday night and she found herself being ushered onto the mainstage along with Agent Lynch to do backing dancing for the Flaming Lips after she and Agent Lynch wandered backstage looking for a loo. While she was jumping up and down on the mainstage, I was singing ‘Twinkle Twinkle Little Star’ about six times in a row to my two year old nephew in an attempt to encourage him to go to sleep. Instead of which he kept jumping up and shouting “sing it again!” Luckily by then I’d drunk so much vodka I didn’t care how many times I sung it. Unlike everybody in the adjacent tents I suspect. Then again, they were all probably out watching the Flaming Lips – and Kitty’s impromptu backing dancing – on the mainstage.

Sunday afternoon was spent largely showing off for the cameramen who were shooting backstage footage of the Time for Tease tent to pitch an idea for a documentary about burlesque to channel 4. That and eating vast amounts of cake. Oh that Lemon Drizzle cake was incredible. I also remember meeting up with my friend Chris and her two daughters in front of the mainstage, where Kitty and Chris’s eight year old daughter threw each other about and took bizarre photos of people’s feet while Suzanne Vega and Kate Nash represented pan-generational female talent onstage.

Kitty and I had to get up shockingly early on Monday to get Kitty back to London in time to work her shift in the pub, but just as I was getting up at 7.30 on Monday morning I bumped into Jonathan Mayor, an old friend from University now cutting a dash on the Manchester drag scene as a comedian and compere, just as he was returning to his tent to bed. He loudly declaimed his excitement at seeing me, then after about ten minutes of conversation actually realised where he knew me from, which elicited even louder declamations. Gratifyingly, he claimed I hadn’t aged a day and enquired if I had had surgery – I suspect a party-addled 7am perspective is far from the most searingly observant but nevertheless it was charming of him. I’m sure the rest of the campsite were equally delighted to hear our emotional reunion at seven in the morning as well.

All in all, an utterly charming festival. And to cap it all, the Sunday Times Style magazine had a photographer taking pics of everybody which they posted up on the website mocked up as magazine covers. I went to a family party last weekend and was actually congratulated on being on the cover of the Sunday Times magazine. Even though it was completely fake, I still got a kick out of showing it off, especially to my ex, who was the one person I didn’t admit it wasn’t real to.



I’d had so much fun at Camp Bestival that when I got not one but two calls asking if I wanted to come and perform at other festivals I was pretty into the idea, even if I was a bit worried about going on my own, especially to the one in Ireland. Karen the nice lady who invited me to Electric Picnic offered to not only pay my flight but also to send their hire car to pick me up and drive me to the festival site, and to feed me for the three days, so I was almost completely won over - and then ukelele troubadour Des O’Connor encouraged me to go by pointing out it would be an international gig, which meant I’d be able to describe myself as an international cabaret star afterwards – so I said yes. When Amanda from Stranger than Paradise asked me if I wanted to go to Bestival on the Isle of Wight with her I said yes much more quickly, which, in retrospect, was the more foolhardy decision of the two, but more of that later.

Electric Picnic was in a place called Port Laoise west of Dublin, where, my dad tells me, there is also a famous prison (not that I could see it over the ferris wheel). My great uncle, who grew up in Ireland, carefully instructed me how to pronounce the place name properly, which stood me in good stead when I was asking directions to the bus stop at the airport. I managed to my tent up on my own in the dark, and then, just as I was pumping up the air mattress inside, I heard a voice outside saying “We’re coming into your tent”. It turned out some of my fellow festivalgoers were quite taken with the pictures of fish all over it. I told the guy that since he wanted to come in, he could pump up my air mattress while he was there, and he obligingly set to the foot pump while him and his girlfriend chatted about what they’d seen so far, and I fed them Oreo cookies. I was booked to play in a tent called Teas and Tarts by day and Tarts and Tease by night – which transformed from a demure tea shop into a sleazy den of vice complete with an Amsterdam-style red-light-district window complete with pole dancers - but I must admit I was slightly overwhelmed when I realised I was sharing the bill with acrobats, dancers, and huge high-octane bands. My little pink ukelele and I were no match for all that energy. Luckily I persuaded Simon the stage manager to let me go on first on the Saturday night, so at least the show could start small and build up. Oh and it also meant I could go on early and then get pissed of course. At least that was the plan, until I discovered that none of the bars appeared to be serving after 10.30pm. I honestly thought that the notoriously fun-loving Irish festivalgoers had drunk the bars dry – but found out next day that they closed the bars at 10.30pm every night routinely. Weird, since everything went on til 4am. Luckily for me, when I went back to Tarts and Tease and moaned about this sorry state of affairs, Simon said “But you’ve got a rider!” and produced a bottle of champagne. Now that’s what I call a rider. I was over the moon, and even the dire warning that it had cost about 60p from France and was dangerously hallucinogenic stuff didn’t prevent me from pouring almost the entire bottle into a pint glass and toddling off to the mainstage with it to watch George Benson, which was a pretty trippy show anyway, but whether or not that was down to the dodgy French knock-off champagne I couldn’t tell you.

I felt like a proper grown-up festival-goer after managing an international festival all by myself, but I may have patted myself on the back a little to soon. Anyone who was at Bestival this year will know what’s coming. If I hadn’t been booked to perform I would probably have wimped out of going at all when the storm warnings started coming through, but you gotta be a trooper, right? I knew this was going to be a more extreme festival experience from the start, when a black van with black tinted windows pulled up to pick me up. It was like a grown-up version of the Scooby van, with a fur rug and a bead curtain inside, not to mention a vanful of sprawling pissed bodies dressed in fishnet tights, frilly knickers, huge hats, scull-print scarves and all the paraphernalia of hardcore festivalgoers. There was also an animatronic toy cat in there that purred and moved. A bourbon bottle was thrust into my hand the minute I clambered inside. It was about 11 in the morning.

So much fun was had en route to the ferry port that we barely made the ferry by the skin of our teeth for the crossing, which was accompanied by loud tone-deaf singing on deck. By the time we made it to the festival site everyone except the driver was crashed out. Then we discovered that we couldn’t park in the artist’s carpark because it was flooded, and we couldn’t pitch tents in the artists’ camping because that was flooded too. There was some flouncing and stropping about how we were meant to be onstage in an hour so they better let us in, and this miraculously produced artist wristbands and opened the gates onto the main site for us, so we drove right onto the site and parked up behind the show tents. Then all we had to do was lug our stuff – which included 3 giant dogs’ heads - across a vast field of mud to the polka tent, which, as it turned out, was also awash with mud.
I had lugged my full length tasselled evening gown all the way across the field inside my gig bag but as soon as I saw that tiny tent, churned up with mud, and the stage covered with mud, and the back stage tent churned up with mud which was reached only from across a sea of mud my bottom lip started to quiver and I begged Amanda to please not make me dress up because I couldn’t wash or dry clean my gown without the tassels wrinkling up so if I got it muddy it would be lost to me forever. Amanda said she didn’t care what I wore onstage and told me to relax. Then we found a tiny unlit backstage tent behind the polka tent, and I started to put my make up on by torchlight. As soon as I’d finished, the stage manager came to tell us that there was another much bigger backstage tent with electric lighting in it on the other side of the Polka tent – but by that time I had switched into proper ‘trooper’ mode. I went onstage and led a drunken ukelele singalong starting with ‘Mud mud glorious mud’, encompassing most of the Jungle Book and concluding with Downtown, before conceding the stage to the real bands, and availing myself of the free rider, which was beer not champagne this time. Our strategy was to get drunk enough to stop caring about the sea of mud everywhere, which seemed to work, except that I still had to put my fish tent up. I managed it at 3 in the morning, but forgot about the air mattress, so I had to come back and pump that up at 4 in the morning. By 5 in the morning there were 3 of us crashed out in it, although fortunately the giant dog heads were left outside.

The next day while I was exploring the site (slowly, as the mud was by then getting to that ‘hold on to your welly and pull it off your foot’ stage) I noticed a security guard taking photos of the festivalgoers walking past on his mobile phone. I asked him what he was taking pictures of, and he explained it was of the sight of all these people walking around in the mud apparently having a good time, because he’d never seen anything like it. In his country (Nigeria) this would be viewed as a natural disaster. Nothing would grow on this land for a year. Had these people really paid to do this? Could I explain why this was fun?

By the time I got my fish tent home it was caked in mud, so I took it to the launderette and paid £6.50 for the giant washer. Then when I pulled it out, it flooded the floor of the launderette with water (which made me popular) so I bunged it in the dryer and shoved a pound in, because I couldn’t think of another way to get it dry with no washing line to hang it up from. When I pulled it out of the dryer the groundsheet had shrivelled up to half its former size and formed strange solid clumps of plastic, which were never going to resemble anything tent-shaped ever again. Yes, I had melted my tent.

I could see this as a sign that I should quit festival-going now, before it gets any worse. Or as an opportunity to buy an even more fabulous-looking tent for next year’s adventures.

I might not be able to explain to a baffled Nigerian security guard why it was fun, but something tells me that if anybody invites me to a festival again next year I’ll say yes like a shot. I haven’t been to Latitude yet. And then, there’s the really big one… Glastonbury. I mean, after Bestival, how disastrous can it be…?

Edinburgh Water

It was the first year I’d braved Edinburgh as a performer since a rather dubious production I was in while I was at university, which has pretty much scarred me for life, but luckily for me, lightweight that I am, one of my oldest and closest friends happens to live in Edinburgh in a flat right on the Royal Mile, so my Edinburgh experience was downright cushy. Except for his kitten, Plug, who if she didn’t get enough attention would launch herself at my leg and cling on to my tights with her claws until I picked her up and stroked her (I’m thinking of adopting this strategy myself in future). So I’ve come home scarred from this Edinburgh experience too, but luckily only literally.

Walking through a torrential downpour to the Underbelly at midnight on my first night to appear in Sideshow, the Bloody Ringmaster’s late-night cabaret, I did wonder how much fun this was actually going to be, especially when I saw the water pouring through the brickwork into the building making the venue look like nothing so much as a medieval torture chamber. There were a couple of guys busking on the street under an archway on Cowgate with a double bass and a guitar. When I came out of the Underbelly after the show, two and a half hours later, they were still there, just packing up their instruments. That’s what I call a stoic performance. My own performance that night was to four people, which meant that when I got one of them up on stage to play the kazoo I actually lost a quarter of my audience. But size isn’t everything and all four of them were delightfully friendly. It was lovely to hang out with Lambchop Magoo, Chrysalis, Margaret the Gimp and the Bloody Ringmaster too – in fact the whole thing was rather cosy, despite the water running down the walls. The Bloody Ringmaster sniffed out the fact that one of our four audience members was in fact a reviewer – thanks to his built in reviewer-dar – so we all fell upon the poor guy oozing charm.

The next day I had planned to see the Bloody Ringmaster in his other play, in which he skipped across the stage in a nightie while someone played the mandolin, but I overslept and missed it. Then I decided to stay in bed and read a book called ‘The Secret Countess’ all day because the rain wasn’t showing any signs of abating, and I needed to know whether the beautiful but penniless Russian aristocrat of the title was going to end up with the young English lord more than I needed to find out what was going on outside in the rain.

That night my lovely Royal Mile Boy and his friend came to the show too, providing us with a third of our audience, which had now swelled to six. Royal Mile Boy volunteered to be my stooge and came up on stage to play the kazoo, but unlike every other audience member I’ve ever picked on before, completely failed to figure out how to get it to work – this must be some sort of Sods Law of Best Mates. To make things even more eggy, a pianist colleague who was in the audience strode onto the stage to show him how to do it, and gave an impressive performance on the kazoo which had no comedy value whatsoever and provided no closure for the little story we were telling about how someone could miraculously master an instrument in just a few moments. So I had to wrench the kazoo from my rather miffed colleague’s grasp and return it to my friend, who I would not allow to leave the stage until he had mastered it. Thankfully he did, leaving all of us feeling rather drained by the experience, which had somehow metamorphosed from a cabaret show into a music lesson.

Fortunately the reviewer who was in the audience, yet again sniffed out by the Bloody Ringmaster, was more excited about the prospect of getting a ukelele lesson off me at the end of the show. And by the time we had all been drinking for four more hours the whole thing was no more than a distant unpleasant memory. What’s more the rain had finally stopped, which suddenly made the prospect of staying out drinking more appealing, so much so that I succeeded in drinking till dawn, after making longsuffering Royal Mile Boy carry my gown and ukelele home for me while I careered off into the night in one of those rickshaws like you get in Soho, which in Edinburgh can actually climb steep hills with two girls in the back. I even managed to carry a full pint in a plastic glass for the whole journey without spilling a drop. That’s some impressive back-seat cycling skills, that is. Walking home at dawn along North Bridge my drinking partner and I encountered a charming local lady who was in extremely good voice as she serenaded us with her rendition of a traditional Scottish ballad. The next morning, unsurprisingly, I missed the Bloody Ringmaster’s play for a second time.

Friday saw me staggering up the Royal Mile with a hangover, cunningly fending off the thousands of flyering performers by clutching flyers for our own show in my hand (I appreciate this was not actually the purpose of giving me the flyers, and apologise in retrospect to the Bloody Ringmaster). It was quite overwhelming. But we found an Italian restaurant to eat lunch in, and I started to feel ready for the Fringe again after a few carbs. And just at that moment who should sashay past our outdoor table on the Grassmarket but Miss Ophelia Bitz in a fetching sequinned beret. She very generously offered me and my friend two guestlist tickets to the Tiger Lillies’ Seven Deadly Sins in the Spiegeltent, which was a riproaring hour’s entertainment.

When I congratulated Miss Bitz afterwards she revealed that from their point of view it had been a nightmare because somebody in the audience had stolen a prop. I had thought the whole baby-theft incident was part of the show, so cleverly had they covered it, which just goes to show how different a performance looks from the other side of the stage. Another unexpected discovery of Saturday was how great Edinburgh water is for washing your hair in. My bob came out all shiny and sleek. I take back all those negative remarks about Edinburgh and water – I love it after all. That night, my last on Sideshow, we had an impressive audience of ten, and my kazoo stooge was a gorgeous American boy who revealed after the show that he was actually playing the part of one of the Columbine murderers by day. So I unwittingly had a murderer on my kazoo for the night. We followed the show with another impressive night’s drinking til dawn. On Saturday I missed the Bloody Ringmaster’s play for the third time.

Saturday night I moved onto my next show, And The Devil May Drag You Under in Musical Theatre @ George Square, and suddenly hit the big league. I arrived to discover a two-hundred-seater auditorium with proper wings, spotlights, the lot. If it weren’t for the warm and friendly welcome I got from the cast and the other guests I’d have been quaking in my boots. Apparently there were loads of reviewers in that night, and there was also a great deal of pressure not to overrun, because otherwise they’d be fined by the venue. Just as I was taking all this in and starting to put my white-face make-up on (to conceal the fact my face had actually gone white with nerves), the cast of the previous show tumbled off the stage and into the backstage room, and a loud female cockney voice was exclaiming about what a nightmare it had been when her radio mic failed and how stressful it had been singing unamplified. I looked up in recognition. That was the voice of Hayley Angel Wardle, one of the four lead actresses of the TV show I’d worked on a couple of years before – Totally Frank on Channel 4. And there she was, in a bright yellow dress and a lot of orange fake tan. I went over to say hello, in my white-face cabaret make-up, and an odd pair we made – a very Edinburgh Festival combination of incongruous costumes. She was in a musical called Departure Lounge about a bunch of lads on their way back from a holiday in Benidorm, and she was playing the femme fatale. I decided that the happy coincidence of winding up in the show right after hers was an auspicious sign.

That didn’t stop me getting the flutters big time about having to step out into the spotlight with nothing but my small pink ukelele and attempt to dazzle a crowded auditorium. The anticipation built up as I waited in the wings with the other performers, hearing but not seeing all the other acts perform their turns. It’s very weird listening to cabaret acts but not being able to see them, it’s a real tease trying to guess what it is the audience are laughing at and what exactly the performer is getting up to out there. I loved Sxip Shirey’s bizarre music, even though I couldn’t see what strange implements he was making his sounds on, and I really enjoyed Greg Walloch’s stand-up routine, but was almost unable to resist the temptation to have a peek and see what Lizzie Wort, Pustra and Vile’een and Scottee were up to, because I could tell there were riotous things going on just the other side of the curtains. My own turn was rather tame by comparison – more whimsical than outrageous really. I recreated a childhood fantasy diva moment by performing Don’t Cry For Me Argentina with my ukelele standing in for the orchestra, the audience standing in for the massed choirs, and a back to front chair for the balcony. The zeal – and the tunefulness – with which the audience joined in led me to suspect that there were more than a couple of performers in the auditorium.

That night I joined the show’s cast for a drink and a dance in the Spiegel Tent but managed to get home by the relatively restrained hour of 3.30am, because the next day I had to get up to go to church.

Yes, I really do mean church. Not a deconsecrated church being used as a Fringe venue. An actual church. My lovely Royal Mile Boy was singing a Haydn mass with his church choir, and had a solo part to perform, so I went along to watch him doing his stuff in cassock and surplice. Because it was a proper mass the choir were tucked away in a corner behind the orchestra, all but out of sight, so I had to sit in a bit of an odd spot to be able to watch him, which meant I missed the ‘real’ show, namely all the synchronised genuflections performed so balletically by the ministers. I must confess I found it all but impossible to sit through the service without unconsciously thinking of it as another piece of theatre, so immersed in the world of festival let’s pretend was I by this time. As such, I must say it stood up rather well, and could probably wipe the floor with some of the other shows on the Fringe. It did secretly amuse me to think that I would be in church in the morning and in Hell with the Devil that same night. But then that’s the Edinburgh Festival for you.

Royal Mile Boy joined me in the Devil’s lair for the show that night, fresh from his mass, and added his dulcet tones to the chorus of Don’t Cry For Me Argentina. Later on, this being the nature of the festival, he and I ended up out for a drink with the Devil himself, of course. But sadly we were unable to source a chip shop for him where he could satisfy his late night urge for a bag of chips at 4am. Apparently “he who sups with the Devil should have a long spoon” so it’s probably just as well the chip shops were all shut, because I have no idea how you’re supposed to eat chips with a long spoon, or indeed a spoon of any description.

Disappointingly I had to go home the next day, but so smitten was I by my Edinburgh adventures that I was sorely tempted to come back for more the next weekend. In the end I decided to wait until next year, when Royal Mile Boy’s kitten will, hopefully, have got old enough to be a bit more low-key about her demands for attention, and won’t send me home covered in scratches.

I was also sorely tempted to bottle some of that Edinburgh water to bring back to wash my hair in, but in the end I realised that since I was already carrying one duffel bag, one hat box, one ukelele case, one rucksack and two gown bags, I wouldn’t realistically be able to manage a demijohn of water as well. Luckily it was raining as I walked to the station, so my hair got one last free wash anyway.

xxx