What was the inspiration for this performance?
I really like the long old school verbosity of people like Jake Thackray, Flaunders and Swann, H.H Munro, Oscar Wilde. I'm also fascinated by lifestyle magazine coffee shop culture - Monocle magazine and Wallpaper Magazine inhabit some vast part of my consciousness - I'm slightly obsessed by Tyler Brūlé.
How did you go about gathering the team for it?
The director Libby and I first worked together upscaling a small part of what's now become LUNCH for the Musical Comedy Awards at Bloomsbury Theatre and we got back to working together for the show's run at this years' Vault Festival. Rosalyn Newbery the producer came on board from Vault too.
How did you become interested in making performance?
I've just always been convinced that the elation, excitement and visceral-ness of live story telling in whatever format is wildly elevating and I think ever since I first started trying to re-enact large parts of Tin Tin when aged four for anyone that would watch.
Was your process typical of the way that you make a performance?
I think so. A lot of it has been a case of trying little bits out here and there and working on them and re-writing them after each performance - I think in a process of making something an audience's response is crucial at whatever stage - even when I didn't feel ready I felt there was still something to learn and take from a live response.
What do you hope that the audience will experience?
Some sort of tingling humour. A light jollity. A mild state of elevation.
What strategies did you consider towards shaping this audience experience?
Playing to lots of audiences. Trying to make it somehow shared. That there is a stake for them in what's going on. That it's a kind of fundamental story telling.
Do you see your work within any particular tradition?
I think it's perhaps proper old school musical yarns. Like the walking blues but via some of the nice bits of North London.