A Dramatic Narrative based around small sections of the lyrics of songs written performed or recorded by Mr Bob Dylan.
Ninoshka Gomes plays a followerof the Messiah who is tender-hearted but struggles with self-doubt.
Isobel Hirst plays a follower of the Messiah who has a tendency to be judgemental.
The role of the Voice of the Message of the Gospel is played by Darren Hirst
Darren also plays the role of the Voice of the Message of the World.
The duality of his message is shown by the blue line which divides his face.
Moon Culture (Aline Huguelet and Keegan Israel) perform the Dylan song “Saving Grace” after one of the verses of that song is spoken.
Supplementary lines to maintain the direction of the narrative were supplied by the director, Darren Hirst. We claim no copyright on the lyrical sections written by Mr Dylan. We hold the correct licence for use of songswhich are used in worship settings and church performances. No admission charge was charged and the video is not being monetised. This will be the sole performance of this dramatic narrative.
Well, it’s been an interesting year. Just in case you hadn’t noticed. In the first three months of the year my writing went along in its normal way and then came the the first three lockdowns we’ve experienced in London because of the pandemic. I started that period floating the idea of online performances and interviews to some artists. Some worked out and some didn’t. I interviewed Nad Sylvan (who is also known as lead singer in Steve Hackett’s band) about his trilogy of solo albums. There was an interview with Bob James and Hilary James which was going to be a stand alone interview but has now become part of a series. Then, there was a long essay about Bob Dylan’s “Tell-Tale Signs” box set.
Each of these was well-received and attracted a very healthy readership. And then my eyesight began to fade. And so everything was delayed until surgery brought about improvement in what was a complicated situation.
So, now this week I was able to interview Bob and Hilary for the second time. Appropriately, this time we concentrated on their Christmas Eyes album – just the right time of the year. At the beginning of the interview, there was a short discussion about my situation, which I’ve left in as a personal marker in the sand.
(This article is an expanded version of a review that I wrote when this album first came out. I was really unhappy about the way that the magazine, who commissioned me to do it, published it. They changed the title. They printed it in a way that removed paragraph breaks and they made editing changes to it without consultation. Needless to say, I stopped freelancing for them shortly afterwards. I revisited the article, originally just with the intention of restoring it to the way it was meant to be but then as I read it and listened to the music, I figured perhaps there was more to say. It concentrates on the spiritual and faith-based references in Mr Dylan’s lyrics but touches on other matters too.)
“Those old songs are my lexicon and prayer book. All my beliefs come out of those old songs, literally, anything from `Let Me Rest on that Peaceful Mountain’ to `Keep on the Sunny Side.’ You can find all my philosophy in those old songs. I believe in a God of time and space, but if people ask me about that, my impulse is to point them back toward those songs. I believe in Hank Williams singing `I Saw the Light.’ I’ve seen the light, too.”
This was Bob Dylan speaking in 1997 – a period which provides 11 songs on his 3-disc set “Tell Tale Signs” (10 out-takes from his “Time Out of Mind” set and 1 live recording).
(In the following conversation, NS denotes the comments of Nad Sylvan, and DH those of Darren Hirst)
DH: Thank you for making some time for me today in these strange circumstances. How is the weather with you?
NS: It’s very cold. It’s only like six degrees. it was up to 15 last week with sun, and you know, scattered clouds. But it’s pleasant enough. And we get to make a huge bonfire tonight because on this date every year it’s called Valborg. When we celebrate spring and we’ll all light a bonfire – the only day in the spring that we’re allowed to do that. I have a load of dead wood ready to go.
DH: Well, we’re in the middle of a thunderstorm at the moment in London, so if you hear any strange noises in the background that’s the explanation…
In March 2020. I was asked to put together an event at one of our local pubs. The Salutation in King Street, Hammersmith, London had been a little quieter than normal since the local Town Hall had closed for refurbishment and I was asked to put on a bill of varied artists in order to get new people over the threshold.
After a few phone calls and a little planning, we had six acts, across a broad range of styles:
Or is he? Due to an error in Ken Worthington’s printing of the flyers and posters for the tour, it reads “John Shuttleworth’s back”, making it sound not so much like our hero’s return to live performance but a reference to the rear features of the star. This is not the first time that Mr Worthington has messed up the promotion and so the gallant star plays the first few minutes of the show with his back facing the audience in order to fulfill the promise of the posters.
Musical by Conor McPherson, Songs by Bob Dylan (used by permission, Dylan has no formal involvement)
This is not “We Will Rock You” or “Mamma Mia”. The Queen and Abba musicals are essentially vehicles to promote the greatest hits in the back catalogue of two acts that are no longer recording. The songs are made to measure into storylines of varying ridiculousness and unbelievability.
It is also not “Jersey Boys”. There the story of Frankie Valli and Bob Gaudio’s musical partnership is told (albeit in a truncated form) and the songs are inserted to illustrate the development of the 4 Seasons’ career. This indeed was a level higher and a completely different approach to your average “jukebox musical” as the first category has often been labelled.
If you’d have said to me when I was a young adult that I’d be enjoying Christmas music later in my life, I would probably have laughed at you.
But here I am, it’s 2019 and I have many Christmas albums and it feels untrue how we develop and change. Now, it has to be said that any fascination for Christmas I had when I was younger had been turned right around by the time I hit my teens and in the intervening years some remarkable transitions have taken place in my life. These have caused me to re-evaluate why Christmas should be celebrated – and celebrated in a totally different way. But, back then I had exactly one Christmas-flavoured record. It revolved at 45rpm and had one song on each side. Now, I have more than thirty albums of seasonal music – mostly songs of faith and about the birth of Jesus but some that are just about the festival and carry their own joy.
This list may come too late for you to listen to them but at least it gives you some time to add to your own collection before next year. It is the nearer the day when the true love brought five gold rings than the day when we celebrate the birth of the Messiah – so perhaps you’ll find some jewels here for 2020:-