60 Minutes After Feeling Sad - Thank You

Well, the first proper performance of my comedy/theatre hybrid show, 60 Minutes After Feeling Sad is finished and was a lovely big sell-out at VAULT Festival. I was very pleased with it - I think there's lots of work to be done and thought to be put into it to work out exactly what it's doing, what it's aiming for, how to help it best do those things and so on, but I think I did feel after yesterday that it's a fun, interesting show that's already a good foundation from which to grow something quite unusual and very good. It's certainly the best I think a first proper outing of a new idea has ever gone for me, so that's nice.

From here I'm not really sure what happens next with it. Because I'm not aiming to do it for Edinburgh this year, my usual pattern of how to prepare and develop a show has sort of been thrown off, and my immediate plan is to park it up for a little while as I work on some other projects, and see where things lead it. I'll briefly be in Edinburgh doing my stupid Neil Young show as a one-off, but otherwise I'll spend this year working on some scripted things and sort of cooking this in the back of my mind as a firmer idea of where it's headed emerges. It might just be that what it ends up doing is going through a whole year-long development process before I take it to the Fringe in 2019, or perhaps it'll have a slightly different sort of run somewhere else, I can't say at this point. But I think it'll be an exciting long-term project to work on.

For now, I'd like to thank a few people - Barney Norris, for his questions and ideas about process that opened up the idea of the whole show to me in the first place and for bringing it to people's attention, John-Luke Roberts for drawing my attention to where the most interesting ideas in the show were and for making suggestions of things that made it feel more exciting and original and innovative, and Tanya Stephenson for all her amazing hard work in actually making it happen, for taking the script and turning it into an image that made it feel so much more alive and exciting to me. Thanks also to the lovely journalists who wrote features on it or recommended it as one of the highlights of VAULT Festival, I just hope in its current state it was good enough to warrant so much support and enthusiasm from so many people. Onwards, then, to see where it goes. Here's a dramatic picture by the amazing Matthew Highton, for the scrapbook: