Tom Waits for No One - Review

 

The Garage International @ Adelaide Town Hall, Sat 5 Mar.

Tom Waits’ trademarks were a rasping vocal style from somewhere deep down in the bowels of the soul, semi-spoken rambling narratives put to music detailing the life of the down and out, a close to the edge desperation that you felt could break at any moment, and an uncanny ability to cram these earthy guttural outpourings into an exquisite melody. On top of that every sinew in his body would ooze emotion in an artistry that was mesmerising. So any attempt to cover Tom Waits songs is a huge gamble!

Wisely Stewart D’Arrietta doesn’t try to be Tom Waits although he does a little character acting in the patter and jokes between songs. D’Arrietta on piano, supported by double bass and drums, did a fine job of presenting material from the Waits catalogue and got better and better as he went. Singing in any way that approximates Waits’ growling vocal style can’t be good for you and it was as if he needed to warm up before he felt totally comfortable.  He worked his way through many classics – the autobiographical Kentucky Avenue, the poignant Christmas Card From A Hooker In Minneapolis, the beautifully tender Martha, the rocky Goin’ Out West, and what he flagged as one of the best songs ever written, An Invitation To The Blues.

D’Arrietta broke character before the final song to take a pot shot at political correctness and mourn the passing of Shane Warne and offered up the gut-wrenching Waits version of Waltzing Matilda as a tribute to a larrikin. It was a sad, beautiful final few moments that was totally appropriate. You see Tom Waits could do that – he could break your heart as you listened, and Stewart D’Arietta took us out in that same fine tradition.

(This review also published in The Clothesline.)

Venus in Fur by David Ives - Review

The Arch at Holden Street Theatres, Fri 4 Mar.

She’s late for the audition. The writer/director is leaving. She insists on auditioning. He tries to leave. She changes into period costume for ’18-whatever’ and becomes the character she is auditioning for. He can’t leave now. And he may never leave. The die is cast. The show has begun. She is perfect for the part… except she doesn’t seem to understand the play. She keeps wanting to subvert it and analyse all these hidden issues which he says are not relevant. He says they’re not there. She says they are.

They argue, dance and parry as they work their way through the script. She thinks he, the writer/director, should be in the play. He resists. Initially. Both are issuing instructions to the other. The sexual tension is palpable. Lines start blurring between the personal and professional as the emotional stakes get higher with each new scene.

VENUS IN FUR was the title of a novel from the 19^th Century that gave rise to the term masochism and is a constant theme throughout the play. But who is to dominate who?

This adaptation for the stage by David Ives is powerful and provocative. Wil King and Bridget Gao-Hollitt are simply magnificent as they tease and taunt each other. Gao-Hollitt’s ability in particular to step in and out of character from the present day to the nineteenth century and back is just so impressive; it’s really quite remarkable. Wil King’s portrayal of a director gradually losing control over his script (and perhaps his life) is also beautifully played.

Engaging writing with multiple layers of complex issues to digest, and totally compelling performances from two seasoned actors combine to create this gripping piece of theatre.

4.5 stars

(This review also published in The Clothesline.)

Song #78 Changing Islands

(LISTEN HERE)

IF YOU’VE EVER WALKED IN A DESERT

YOU’LL KNOW THE DANGERS THERE

WHEN YOU WALK ALONG THE SEASIDE

YOU ENJOY THE SUNSETS FAIR

HAVE YOU EVER CLIMBED A MOUNTAIN?

AND BREATHED THAT PURE AIR

 

HAVE YOU EVER CHANGED YOUR ISLAND?

WANTING SOMETHING NEW?

LOOKING FOR A DIFFERENT PICTURE

MAYBE EVEN A NEW YOU

IT DOESN’T ALWAYS WORK

SOMETIMES YOU MUST RETURN

 

WE GATHER YEARS ALONG THE WAYSIDE

FRIENDS AND FAMILY COME AND GO

MAYBE WE SHOULD TELL THEM

WHILE WE STILL HAVE THEM HERE

THAT WE’RE GLAD THEY’RE BESIDE US

TOGETHER FACING FEARS

EVERYTHING RETURNS

AND NOTHING STAYS THE SAME

LIFE ROLLS ON AND ON

IN A NEVER ENDING GAME

 

THERE BUT FOR THE GRACE OF GOD WE SAY - AT LEAST FOR NOW UP TILL TODAY

I CAN CHANGE MY MIND - I CAN CHANGE MY PLACE

I CAN TRY AND ENTER A DIFFERENT SPACE

I CAN STAY RIGHT HERE OR GO BACK THERE

I CAN STAY RIGHT HERE OR GO BACK THERE

                                                                THINK I’LL STAY RIGHT HERE


                                                                          (Copyright 2021)

COMMENTARY: Sean Mangan and I were practising for a gig and we needed a name for it. We had both previously been in groups called Changing Hats and Dark Island. So for the gig we chose Changing Islands! And I thought the gig deserved a new song in its name ;)

San Ureshi and Friends - Review

This is not San Ureshi but an old man playing the
erhu in a park in Beijing.

 Nexus Arts at West Village, Sat 26 Feb.

Sometimes listening to great music induces a feeling of total serenity. And when that occurs listening to music from cultures other than your own the experience can border on mystical. The San Ureshi ensemble’s concert at Nexus Arts offered such moments. Listening to this beautifully arranged music from East Asia was like enjoying your own intimate WOMADelaide festival. This collaboration of Chinese and Japanese musical traditions seemed all the more poignant in the current geopolitical climate.

The core ensemble consists of Zhao Lieng (originally from Singapore) on guzheng or Chinese harp; David Dai (Taiwan) on erhu or Chinese violin; and Satomi Ohnishi (Japan) on percussion. One of the early pieces drew inspiration from 12^th century Japan with what sounded like the drums of battle underpinning the beautiful contrasts of the plucked harp against the bowed notes of the erhu. A cello joined the ensemble and the interplay between cello and erhu was at times exquisite. Chinese traditional singer, Cindy Fan, delivered songs in the distinctive high pitched vocal style characteristic of much Chinese folk music and transported us into the mountains of northern China.

Extra violins in the second half of the program added depth and texture to the arrangements. Behind all of these wonderful pieces was a variety of percussion sounds that were sometimes quite forceful and at other times quietly delicate: I heard horses racing across the plains, and the falling of a gentle rain. At other times rhythms were subtle and implied – quite masterful! And watching the elegant hands of Zhao Lieng pluck the strings of her harp was akin to watching the hands of a Balinese dancer.

Satomi Ohnishi’s lighthearted and often humorous introductions to each piece was the perfect counterpoint to some seriously beautiful music. It’s hard not to imagine that this group are headed for bigger and better things. Being at this concert just felt like a very special privilege.

(This review also published in The Clothesline)

Song #77 You Must Run Away

 

CHORUS

YOU MUST RUN AWAY NO MATTER WHAT THEY SAY

YOU MUST RUN AWAY NO MATTER WHAT THEY SAY

 

VERSE 1

YOUR FAMILY WILL LOVE YOU

MOVE HEAVEN AND EARTH FOR YOU

TO MAKE SURE THAT YOU’RE HAPPY

AND LEARN THE  FAMILY RULES

 

CHORUS

 

MAKE SURE YOU GET A REAL JOB

DON’T STRAY TOO FAR AWAY

WE'LL BRING YOU BACK HOME AND HOLD YOU

AND KEEP YOU SAFE AND WARM

 

DON’T PLAY OUTSIDE YOUR CULTURE

IT ISN’T WORTH THE RISK

WE’LL BE THERE TO CATCH YOU

IF YOU WIND UP IN A FIX

 

CHORUS

BRIDGE (1) 

BUT MAYBE YOU’RE DIFFERENT AND WOULD LIKE TO TRY

SOME THINGS BEYOND THE PALE

PUT 2 AND 2 TOGETHER AND SUDDENLY DISCOVER

THE ANSWER COULD BE 5

 

BRIDGE (2) 

SMOTHERED BY LOVE AND KEPT IN A BOX

THERE’S A MILLION THINGS TO LEARN

THERE’S A PLACE IN YOUR SOUL THAT’S EVER MORE CERTAIN

THAT YOU NEED TO WANDER FAR

 

CHORUS

VERSE 1

CHORUS 

YOU MUST RUN AWAY NO MATTER WHAT THEY SAY

YOU MUST RUN AWAY NO MATTER WHAT THEY SAY

– TO MAKE SURE YOU CAN GROW

 

© M Coghlan 2018

COMMENTARY: Ever since I read David Cooper's Death of the Family back in the 70s I have been suspicious of the hold that families hold on their sons and daughters. It's natural for families to want their children near and to want them to fit into family life but what growing family members actually need to realise their potential is to get as far away from their family as possible. Oscar Wilde put it something like this: "No one is an adult until they leave their place of birth." The song has a reggae feel.

 

 

Song #76 The Dance of Risk and Failure

 

WHAT IF YOU KNEW TODAY WOULD TAKE YOUR BREATH AWAY

WHAT IF YOU KNEW TODAY WOULD TAKE YOUR BREATH AWAY

WOULD YOU GO, WOULD YOU JUMP AND TAKE THE CHANCE

WOULD YOU GO, WOULD YOU DARE TO DO THE DANCE

OF RISK AND FAILURE?

 

WHAT IF THE LIFE YOU LOVED CAME TO AN END

BECAME TOO SAFE AND WAS EATING UP YOUR SOUL

WOULD YOU CHANGE, TRY SOMETHING NEW AND TAKE A PUNT

COULD YOU CHANGE, START AGAIN AND ROLL THE DICE

OF LIFE AND LIVING?

 

YOU KNEW IT ALL OR AT LEAST KNEW WHERE TO LOOK

YOU HAD ROUTINE AND RHYTHM ALL PLAYED BY THE BOOK

COULD YOU STOP, TURN AROUND, TRY SOMETHING NEW

BE A CHILD, TAKE A RISK AND JOIN THE FEW

WHO CAN COPE WITH FAILURE?

 

BRIDGE

YOU TELL YOURSELF OF COURSE YOU WOULD

OH THE CHANCE TO STAND ON THE EDGE AND FALL (X2)

 

YOU FEEL TODAY COULD TAKE YOUR BREATH AWAY

TODAY YOU’D JUMP, TAKE THE RISK, AND DO THE DANCE

OF RISK AND FAILURE

OF RISK AND FAILURE

(Copyright M Coghlan circa 2015)

Commentary: Another post full time work song when I was still trying to work out what I'd do with myself. Challenging myself to be more adventurous ....

Song #75 It's Hard To Tell

IT’S HARD TO TELL

 

CHORUS

IT’S HARD TO TELL (X3)

WHICH WAY TO TURN

AT THE NEXT BEND

 

VERSE 1

YOU’RE FEELIN’ ALRIGHT BUT THERE’S STILL SOMETHING MISSING

A CHINK IN THE ARMOUR THAT NEVER LEAVES YOU ALONE

ALWAYS THAT FEELING THAT LIFE COULD BE BETTER

 

VERSE 2

YOU FEEL YOU’RE WASTING YOUR TIME ON THINGS THAT ARE EASY

SITTING AT HOME WHERE THERE’S NO ROOM FOR THE BRAVE

AS YOU COUNT DOWN THE YEARS OF THE TIME YOU HAVE LEFT HERE

 

CHORUS

WILL I STAY WELL?

IT’S HARD TO TELL

NO ONE KNOWS

WHAT WAITS FOR YOU

 

BRIDGE

YOU CAN CLOSE ALL THE BLINDS AND SHUT OUT THE DAY

OR OPEN THEM UP AND GREET THE SUN’S RAYS

WHATEVER YOU DO YOU WILL BE ON YOUR WAY

TO ANOTHER DAY

 

CHORUS

WHERE IT’S HARD TO TELL

SO HARD TO TELL

WHICH WAY TO GO

AT THE NEXT BEND

(2015)

Commentary: Written in the year after I stopped working full time when I was struggling to work out how best to use my time. Catchy enough tune but really needs a band to make it live.