Your Jest is Earnest… I familiarly sometimes do use you for my fool and chat with you.

What: The Comedy of Errors by William Shakespeare

When: July 21 and 22, 2021

Where: The Lydia and Manfred Gorvy Garden Theatre, Stratford-Upon-Avon

Who: The Royal Shakespeare Company

William Shakespeare’s play “The Comedy of Errors” is a better play than many believe and the Royal Shakespeare Company current production of it is better than I expected…

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A Voice from on High

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.

The text of “A Voice from on High” follows.

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Nad Sylvan – An Interview with the Vampirate

(And so as part of my ongoing project for this difficult period, on the day following my Bob and Hilary James interview https://twilightdawning.com/2020/05/22/bob-and-hilary-james-they-are-flesh-and-blood/, I was able to interview Nad Sylvan. As well as being an artist in his own right, Nad is the lead singer with the band led by ex-Genesis guitarist, Steve Hackett).

(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…

NS: Okay, cool.

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Bob and Hilary James – They are “Flesh and Blood”

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A Salute to the Salutation!

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:

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John Shuttleworth is back!

Where: Leicester Square Theatre, London

When: March 2020

Who: John Shuttleworth

When: John Shuttleworth’s back

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.

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Nobody Sings Dylan Like Dylan

What: The Girl from the North Country

When: February 2020

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.

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Worth every Pound you invested

Who: Steve Hackett and Band

Where: Hammersmith Apollo, London

When: 29th November 2019

What: Selling England by the Pound, 40th Anniversary of Spectral Mornings and other songs

Someone I know was complaining how expensive concert-going is getting. “Soon”, he said, “no-one will be to afford to go to a show”.

His thoughts have some merit, but my concerns are in a different area. Too many concerts are able to charge their inflated prices because they revolve entirely around nostalgia and people ARE willing to pay to relive a certain period from their lives

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All form is formless, order orderless

What: King John by William Shakespeare

When: October 2019

Who: Royal Shakespeare Company

Where: The Swan Theatre, Stratford-Upon-Avon

Three plays? No, just one.

Are you sure? Well, yes as much as I can be sure about anything to do with this production.

But whatever we say, we have to say that the production is an untidy mess.

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O cunning enemy, that, to catch a saint, With saints dost bait thy hook!

What: Measure for Measure by William Shakespeare

Where: Royal Shakespeare Theatre, Stratford-Upon-Avon, UK

Who: The Royal Shakespeare Company

When: July 2019

“The poetic atmosphere is one of religion and critical morality. The religious colouring is orthodox, as in Hamlet.”[1]

“There have, however, been others, notably in the last century, such unlikely yoke-fellows as Gervinus in Germany and Walter Pater in England who have seen the play neither as expressive of cynicism and disgust nor as filled with the spirit of the Gospels and yet believe it to be no ‘meaningless’ entertainment but serious and coherent exploration of certain moral issues. It is in support of this view that the following pages are written”.[2]

I have two touchstones, benchmarks if you will, when it comes to Shakespeare’s “Measure for Measure” and the above quotations are examples of their understanding of the play and the differences between those understandings. Gregory Doran’s production of the play in Stratford-Upon-Avon may have become a third.

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