mFEST caught up for a scoop with NYPC guitarist Andy Spence....
mFEST: Good morning Andy, Trust you're looking forward to mFEST! You were selected by the festival young programming team. Generally speaking Do you have a big U18s following in the UK?
Andy: Hello, yes of course! Well we used to have lots of U18 fans but I think some of them may be a bit older now. hopefully we've gained some new ones from this album.
mFEST: You released and produced 'The Optimist' yourselves: Was there a particular reason behind how this experience differed from previously working with Modular?
Andy: We weren't happy with the way things went on Modular so when they told us they didn't have any money left we decided to do it ourselves. It was much harder work than we expected but we don't regret it cos we get to do things all our own way.
mFEST: Widely regarded as your bonafide hit, ‘Ice Cream’ was a slice of Disco brilliance. Do you ever 'do a Nirvana' and just not bother playing it?
Andy: Yes the hit that never charted but everyone knows! Weird. We have left it off a coupel of times but it still stands up as a great song so it's crazy not to indulge.
mFEST: Who are you looking forward to seeing at mFEST?
Andy: Darwin Deez is really fun to watch. I think it's a great debut he's made.
mFEST: If you had a message for young people trying to get forward with a career in music, what would it be and why?
Andy: Careers are for people with real jobs. Music should be enjoyed and if you can live off it too then you've done very well.
mFEST: You have the keys to a time machine. You can go back in time and perform on stage at a venue with an artist of your choice. Who and where would it be and why?
Andy: Chic in 1979 at Studio 54. Possibly the best Disco band of all time in possibly the best Disco of all time.
New Young Pony Club Play the Albert Halls on Friday 30 July with Hadouken!, Darwin Deez and Unicorn Kid.
Friday 25 June 2010
Interview with Richard Milward
-Why did you write the original novel? Is it in any way autobiographical?
I started writing Apples at 19 - so, having just left school, I was desperate to get all my angst-riddled adolescent stories off my chest. I was interested in writing about fifteen year-olds, since it seemed like such a crazy age - girls are suddenly becoming more womanlike and mature in their tastes in men, while fifteen year-old lads seem to lag behind their female counterparts, still booting footballs or booting up their computers of an evening.
I tend to describe Apples as an 'anti macho fairy tale' - the main reason I wrote it was to point the finger at certain aggressive, hot-blooded males you see in Boro, and all over the world - the type that try to force girls into bed, or force their fists on weaker males.
The novel itself is a magical mix of autobiography, overheard conversations, and pure imagination. In a way, I see myself as having a split personality, sharing an equal amount of traits of both Adam and Eve, the two leads. Writing is a weird occupation, in that you have to force yourself to be reclusive at times, whilst also scouring the outside world for inspiration. I guess Apples sums up the two mindsets.
-In what way have your stories and writing style developed as you moved from Apples to your second and third novels?
I think my writing's become more experimental, in a way. While the word 'experimental' has connotations of chin-stroking pretension, I reckon a lot of contemporary authors fail to get the most out of the form. Literature's a powerful medium, in that you're painting pictures in peoples' heads with just black symbols on white paper - but it seems authors experiment much less with the medium than - say - an artist might. Like, with art, you're actively encouraged to experiment wildly - with literature, the first thing you learn about it at school are all the 'rules' (grammar, spelling, etc).
At the moment, my writing seems to be getting more surrealistic and dreamlike, and yet more honest at the same time. I've become more comfortable with relaying genuine scenes from my own life - like crapping myself in a nightclub (in 'Ten Storey Love Song'), nibbling Es on toast, as well as trying to get to bottom of my own love lifes, etc.
- How did the idea for the adaptation come about?
It was John Retallack from Company of Angels (who are co-producing the play with Northern Stage) who got in touch with me, after reading Apples. This was maybe in 2007, or 2008. I'd never really thought of it as a play before - especially since I'd never been to the theatre before, to see a 'proper' play anyway. I'd been to pantos, Grease, and all that when I was young, but never to see 'serious' drama. But, after talking with John, I could see how the book might lend itself well to the stage, especially with it being full of first-person monologues. We largely lifted the script straight from the pages of the book, so the play's structured almost like a slew of smog-monstrous Shakespearian soliloquies. It's like a heightened, distilled version of the novel.
- How involved have you been in the adaptation process? Is there anything you had to change/ add for the adaptation?
I've been involved quite a lot. At first, me and John Retallack met up over the course of a few months, chopping away at my novel, trying to get the word count slimmed down, without losing the narrative arc or the flavour of the prose. Mostly the script's made up of words lifted straight from the book, so it was always going to stay pretty true to the novel. Here and there, I added a few nuts and bolts (like extra dialogue), to help pad out certain holey bits. On the whole, though, it was a case of John meticulously chipping away at the novel, with me as his sidekick. I was on hand to explain a few of Boro's barmier phrases, as well as patch up the holes.
As for changes, I was already aware we'd have to drop a lot of scenes and characters, but I still think the adaptation stays true to the overall narrative arc, and - more importantly - true to the language of the kids in the story.
-What is it like seeing your book performed? Is it how you envisioned it would be?
Now and then I get a bit of deja vu, watching strangers act out certain things that have happened to me. It's like looking at a moving, all singing, all dancing photo-album of good and bad memories. In fairness, about half the story's based on my own experiences or observations, and the other half's pure imagination (eg: I've been known to obsessively shut things lots and lots of times, like Adam, but I promise I've never been caught knocking one out in my attic), so it's not like someone acting out my memoirs word-for-word. Now and then, when I've been watching the cast rehearse, a certain scene might unlock some memory I had lurking about in my brain. Because of that, I find it hard to watch the play objectively - my mind keeps wandering off to my own past, rather than focusing on what's going on in the present. It'll be interesting to see what people make of it, especially those who haven't clapped eyes on the book.
-Do you think it’s important that North East actors have been cast?
Definitely. Not only does the North East have its own unique sense of humour and sensibilities, it's got some of the best accents in the country. Obviously it's important for the cast to ring true to the characters in the book, and I reckon they've pulled it off. I mean, audiences in the South of England might not be able to distinguish a Geordie accent from a Teesside accent but, with the play opening in Middlesbrough, it's important to convince the home crowd of its authenticity. If we win over the Boro audience, it should be able to fare well anywhere.
-Have you had any input in the direction of the piece?
Not so much with the direction, though I've been on hand to clear anything up that might need explaining, from the text. I was a lot more involved with the adaptation of the novel - but, because I haven't seen much theatre myself, I've been happy to hand over the reigns to the directors, at the rehearsals. Like I mentioned, I find it hard to watch the thing objectively, so I tend to keep shtum when they're rehearsing. I'm usually in a bit of a world of my own.
-Do you think this is just a play for young people?
Not at all. It's a play for anyone who's been young. It'll definitely appeal to younger audiences - I don't know many (in fact, any) teenagers that go to the theatre, but hopefully the folk that come and see Apples will be pleasantly surprised. The play's got a great mix of surrrealism, comedy (a combination of childlike humour and the blackest black comedy), and crushing violence - I reckon it'll be pretty intense.
-What has your role as scenic artist involved?
I've been lending my brush and acrylics to the backdrops, and to the 6 chairs and various props used in the play. When me and John were adapting the play, John came to see my degree show at Byam Shaw art college (I studied fine art down London) - I painted this small room to create a Day-Glo 'Garden of Earthly Delight'. My artwork definitely links in with my writing (it's a bit comic/absurd/colourful), so I guess it makes sense for me to slap some paint on the backdrops.
- How do you feel about the premiere of ‘Apples the play’ taking place at The Empire Nightclub in Middlesbrough?
I'm absolutely buzzing over it. It's funny, because the Empire features in the first chapter of Apples - when I was writing it, back when I was 19, obviously I had no idea I'd be watching my words being acted out there six years down the line. The opening night's going to be pretty special - it's going to be strange witnessing the outpourings of my brain performed in the place that inspired the writing.
Jon Richardson is one of the sharpest, brightest and most in-demand young comedians on the UK comedy scene at the moment: We caught up with Jon about his plans to perform naked should England win the World Cup and why young people are so important to comedy.
mFEST:You were selected by the festival young programming team at mFEST - Do you notice a lot of young people at your shows?
JR: Doing the podcast and the show on 6music certainly made more young people aware of my comedy. I think there are more young people at stand-up in general than most other shows thanks to its rawness and interactivity.
mFEST: Do you tailor your stand up for different audiences? As the crowd will be a bit younger?
JR:I don’t tailor my act towards anyone in particular but I suppose being in my twenties my material is naturally going to appeal more readily to young people. Young people tend to be much more willing to adapt to different things so they can be easier to perform to. mFEST: You cite Lee Evans as a particular influence. Who else inspires you in Comedy?
JR: I’ve recently got into an American comic called Louis CK, I love the way his brain works. He doesn’t use any tricks or try to blind you with an energetic performance, he just relays his thoughts through a microphone and succeeds in as pure a way as is possible. That is incredibly inspiring. mFEST: Daniel Sloss is one of younger comics at mFEST - how do you think younger comedians, such as yourself, differ from the old guard?
JR: I think it can sometimes be harder for a young comic to succeed, since so much of comedy is about having a unique viewpoint and that’s really something you can only acquire over time. I can sometimes fall prey to over-analysing comedy and age is something that is definitely less important than it can seem. Kevin Bridges is proof that funny is funny regardless of your years, he’s just great.
mFEST: What's the best joke you've heard about a Scotsman?
JR: I can’t think of any jokes about Scotsmen that don’t also involve an Englishman and an Irishman, and in those cases the joke is rarely on the Scotsman. I remember very few jokes, I survive as a comedian by being charming and non-threatening.
mFEST: Will England win the World Cup?
JR: Absolutely not; I will perform naked at mFest if they do. (Well, in just boxers – I lack the bravery to be bold even in this most certain of bets!) mFEST: You have the keys to a time machine. You can go back in time and perform on stage at venue with an artist of your choice. Who, where would it be and why?
JR: I’d love to go back and see some of the music hall comedians, Max Miller and the likes, perform at the Glasgow Empire since there are so many tales of horrific deaths there. Not that I gain any pleasure from watching fellow professionals struggle, you understand? There was something so naughty and yet inclusive about their comedy and I think it would be fun to see how they did it.
mFEST: There is a lot going on this year at mFEST. Will you have a chance to check anything else out?
JR: Unfortunately I’m heading straight to the Edinburgh festival to be judged, poked and scrutinized within an inch of my life when I finish performing at Macrobert. If I could recommend anything to people who are going to be there it would be the screening of 1980s film classic, Labyrinth. It’s a hugely important part of my arsenal for coping with life, a film I have watched when bored, lonely, ill, homesick and so on. It’s like a friend to me. Or as Ludo himself would say, ‘Fffffffrrrrrrriieeeennnnd?’
Led by resident professional Ewan Cameron at macrobert arts centre, We Experiments is a production performed by the innovative macrobert Young Company. We caught up with Director Ewan to find out what we can expect from this brand new piece.
mFEST:You were selected (and commissioned) by the festival young programming team at mFEST – What do you think it was about your production that appealed to our programmers?
Ewan: I think young people like to be challenged - to see things that excite and challenge them. We Experiments is that bit different from a more traditional theatre show because it is designed to be a series of intimate performances in unusual performance spaces.The audience are separated into smaller groups to follow different routes throughout the macrobert and university in search of a missing character. Each audience member experiences a different show as no one person will see all of the same performances!
mFEST:Why did you apply for the Young Persons commission at mFEST?
Ewan: We didn't. The macrobert Young Company are a core group at macrobert. The company believed it was extremely important that they produce a performance for mFEST to both showcase what they do and illustrate how integrated mFEST and the macrobert core groups are for each other.
mFEST:What/who do you cite as creative influences?
Ewan: People, who randomly look at something, find it intriguing so go to it and inquire further. 5 yr olds and cats excel at this. Visually strong and spectacular arts. Other than this I have a wide range of creative influences, including braces, odd socks and brightly coloured underwear... here's a few others:
Guillermo Del Toro; Jim Jarmusch; [film] Derevo; [physical theatre] Spalding Gray [solo performer] Shave Koyczan; [performance poet] Tom Waits... [Musician]... Banksy [artist]...LIFT festival; graffiti arts...
mFEST:What can audiences expect from We Experiments?
Ewan: We Experiments... is an investigation where audiences, as detectives, meet strange and bizarre characters through a series of intimate performances throughout the buildings. Expect to be taken to places you never knew existed...
mFEST:If you had to describe We Experiments in three words, what would they be?
Ewan: TWISTED - INTRIGUING - MYSTERIOUS -
Alternatively and more accurately -more-confusing-than-driving-through-spaghetti-junction-backwards-and-blindfolded.
mFEST:Apart from your piece who/what are you looking forward to seeing at the festival?
Ewan: Daniel Sloss. I knew him when I did stand up, he was funny, and I wasn't. That's why he's headlining and I'm not doing comedy any more!La Fura Del Baus - because they are, simply, awesome and Fallout.
mFEST: You have the keys to a time machine. You can go back in time, perform on stage at venue and artist of your choice. Who, where would it be and why?
Ewan: Tom Waits, Edinburgh Playhouse July 2008. I'd just be on stage hitting a triangle. Other than the Cookie Monster, Tom Waits is probably one of the world's greatest living artists...Or, Cookie Monster's Monsterpiece Theatre version of Spalding Gray's 'Monster in the Box' c. sometime in the 1980's
We Experiments perform at macrobert Friday 30 July – Sunday 1 August
mFEST will be talking to young members of the festival team in the run up to the festival. We caught up with young marketer Calum MacKay to discuss how the programme launch for mFEST went, and what he’s looking forward to at mFEST.
Calum: The press launch went really well. It was really bustling with press and supporters of the project. And the pastries were good too.
Me and the Documentary Team were kept busy filming the whole thing. Interviewing and getting peoples stressed faces on film. It was really good when we got an interview with Daniel Sloss. He was so funny and can’t wait to see his show at the festival. Telling all the journalists to watch out because ‘in 30 years you’ll all be dead’.
Thankfully the press were not too insulted and we still got published in the papers the next day.
All of the tickets are on sale now so go out and by them! I will certainly be buying a ticket for Axis of Awesome. The Musical comedy sensation that received rave reviews at last years Fringe. They are sure to be bigger and better his year, and with them performing three times over the weekend there’s no excuse for missing them.
Here’s only one of their great songs:
And another one just for fun:
Also on my must see list would have to be the film Time Bandits, You could almost describe it as the Mighty Bush mixed with Clash of the Titans but with dwarfs. Don’t understand how? Well you’ll just have to come along and see.
Here’s the Trailer
Also the highlight of the film program will defiantly be Little Miss Sunshine. Not only because it is one of the funniest films of all time but it is an outdoor screening! This will be the penultimate show at the festival and shall be buzzing with an amazing festival atmosphere, guaranteed!
Charging into the summer with slots at a host of top festivals, Darwin Deez rocks up at mFEST on Friday 30 July with Hadouken!, New Young Pony Club and Unicorn Kid.
We spoke with Darwin and this is what he said....
1. Good afternoon Mr Deez. Where are you today and what are you doing?
hi, thank you it's morning actually! i've been waking up early this week. really early.. like at 3:30 am sometimes. jet laggage! i'm checking my email at my parents' house. enjoying the weather down here in North Carolina this week. It's nice to get out of New York City for a while.
2.You were selected by the festival young programming team - have you noticed a lot of U18s at your UK shows and why do you think the kids love your music so much?
you better believe i'm looking forward to mFEST. tell those young hot-shot programmers "Thank You!" with proper caps and everything. we do attract a young crowd, yes. i think the kids like it because it's fast. and it's pop and it's fun.
3. 'Radar Detector' has been something of an Indie Disco dance floor filler in Scotland. Tell us a bit about the song?
cool! it's a love song about driving around and doing fun things with a very caring, protective girl.
4. A member of the mFEST team caught your last show at King Tuts - without letting the cat out the bag, tell us about your pre show routine!!
we drink each other's urine and slap each other's bums. no, just kidding, we do the same the killers do: put our hands in the middle and freeform a sexy skit from busta rhymes' debut. although the killers don't riff on that same skit. or any busta rhymes skit.
5. Stirling has great a history - one William Wallace triumphed over the English army in 1297 not far from where you will perform. What do you know about Scotland?
not much, but i like the accent. "So I Married an Axe Murderer" is basically all i know about Scotland. "HEEEEAD!"
Our young people were asked to talk about mFEST on BBC's Radio Cafe Culture, have a wee listen and hear about all the hard work these young people have put into this festival for you...
