QUALITY STREET

Here’s the whole gang from our recent “Quality Street” show in Malmö. It was a great mixture of classic sketches from Monty Python, The Two Ronnies and Fry and Laurie, blended with scenes from Pinter, Willy Russell and Christoper Durang. All  nicely dusted with a sugar-coating of song and dance numbers.

Very good response from our audiences and as performers we had a great time.

I got to do my George Formby impression, which meant learning the basics of the ukulele in just four weeks.

And it’s always fun to dress up in top hat and tails. I don’t usually look this debonair and sophisticated.

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Work In Progress

I don’t know if it’s correct to call this “work in progress”. It’s more like “play in progress.”

So, here’s step 1: a blank page in a sketchbook and a bunch of pens.

Step 2: I pick the sign pen and plug it in, via my hand and arm, to my brain…

Step 3: What comes out is a free form doodle…

Step 4: I think this needs a bit of yellow. Don’t ask me why. I just feel that yellow is the thing to do here…

 

Step 5: Well…you’ll have to wait and see what happens next. 🙂

The Return of the Human Funny Bone

It’s been a long hot summer here in Sweden, and after absorbing massive amounts of radiation I’ve been inspired, finally got my act together and started getting my artwork “out there”.

So here’s a link to Society6, where I’ll be selling the stuff that’s wended it’s way from the nether regions of my brain down through my funny bone and onto paper. So keep your ears peeled and your eyes pinned back (or something like that) for more updates:

https://society6.com/product/squoodle-1_print?sku=s6-9491902p4a1v46

 

 

We Were Three

How about this? A new post in hot pursuit of the last one!

I’m proud to have been a part of this wonderful short film “We Were Three”, which had its world premiere at The Tribeca Film Festival today. Congratulations to Caroline Ingvarsson, the very talented director, and all the cast and crew:

DAVID MAMET MASTERCLASS (All done and dusted)

I can give myself a big pat on the back for finishing this masterclass. Not that it’s been difficult. I’ve looked forward to each lesson and found the whole course to be fun, stimulating and enlightening.

David Mamet is often portrayed as being bullish and intellectual, but this masterclass reveals another side to him. He’s a  great teacher, very funny and down-to-earth and clearly enjoys passing on the lessons he’s learnt throughout his career. He doesn’t have all the answers and he certainly doesn’t reveal any magic formula that will make writing drama easy. Getting from the A to B of writing a dramatic story is a tough journey across a landscape which can present many challenges. At the end of the day it’s about putting in the time and commitment.

As an actor I’ve found this masterclass has given me a lot of food for thought. Here’s a scene that Mamet cites as showing one of the best movie actresses of all time. See what you think:

David Mamet – week two

I’m still in there and I’ve reached lesson 15 of 26. Mamet dismantles two of his most famous plays – “American Buffalo” (a tragedy) and “Glengarry Glen Ross” (a drama), showing how the plot structure works in each.

Then there’s advice about writing dialogue and how to leave out exposition and narration. The message here is “Take off the excess flesh!” A great example of this is the juggler Michael Moschen, who can juggle with 14 balls, but can still entrance us with just one ball: