Interview with John Cooper Clarke

DESPITE being told he'd never make a career out of poetry, John Cooper Clarke has certainly proved his school career adviser wrong.

Not only has he forged a successful path writing and performing his poetry - and has been at the forefront of the poetry movement for the past 40 plus years - John has also seen his work adapted by musicians, released several albums of his own, performed on the same bill as the likes of the Sex Pistols and has been hailed as the Bard of Salford.

Indeed his acerbic, satirical, political and funny verse, delivered in a rapid-fire performance style can be heard through a wide breadth of popular culture from the Arctic Monkeys to the Sopranos earning him the label punk poet in the process.

Not bad he says for a boy from Salford who went to a "slum school" and "hated every minute of it".

The 65-year-old is still writing and touring and is about to take to the hallowed stage of the Royal Festival Hall on Saturday, October 4 as part of the Southbank Centre's London Literature Festival.

He will be joined by special guests, Mike Garry, Luke Wright, Simon Day and Phill Jupitus in what promises to be an entertaining and eclectic evening.

We chat ahead of the gig which is part of his latest nationwide tour. Frank Sinatra is on the stereo in the background and John is just back at his home in Essex after a five week family holiday in France.

Whether it's the music or the fact he's feeling relaxed from his recent break, he is not feeling any pressure to think about the gig.

"I know it's on the horizon but I don't tend to think about it til a week in advance," he chuckles. "Me and Johnny my driver will have a banter in the car on the way to the gig and it will all flow from there. I don't have a set.

"There will be the classics," he adds in his still noticeable Salford accent. "But mostly it will be new stuff. People shout out requests and I try and accommodate them, so there will be something for everyone - it's the way it has to be.

"It's great because there's no specific demographic and usually I get an audience made up of people aged between 14 and 98. To have all these new fans and attract the youngsters - it's terrific."

The fact he has a whole legion of young fans should come as no surprise given that he and his poetry have been a feature within the GCSE syllabus for some time, something of which he's rightly proud.

"You cannot want for more than that as a poet can you?" he says warmly.

It appears that his love of poetry stems from his own school days.

"I enjoyed poetry at school - in fact my whole class was really interested in it because our teacher John Malone inspired the whole class," he says.

"He was a rugged outdoor type, like Ernest Hemingway, who'd go skiing and mountain climbing but he had this passion for 19th century romantic poetry which he instilled in the entire class.

"It was a slum school, a run down secondary modern in Salford and I hated every second of it," he laughs. "But this man was a rose in a garden of weeds and he made it live and breathe. So yes, I was lucky.

"I loved some of the poetry more than others of course but it inspired me - although as a career it's a non starter and I was told it wouldn't work so to keep it as a hobby.

"Everyone we ever liked didn't make a career out of poetry alone," he adds. "TS Eliot was a banker wasn't he. They had something else to do so I feel lucky in a way to be able to make a living out of it."

It was seeing the career trajectory of Pam Ayres that convinced him to give it a go.

"Her success on the TV show Opportunity Knocks gave me encouragement," says John. "She writes about her world and I write about mine. If you write what people like then why not? That's what I thought.

"Also whenever people are being kind about any work of art or movie or music, they say it has a poetic quality about it. So poetry is everywhere."

Since then he's inspired generations of artists and musicians although it's the punk era with which he is best known, thanks in part to his look - tall and thin with drainpipe trousers, dark glasses and wild, black hair.

"I was working in Manchester and I had this moddy look that was totally out of fashion until punk rock came in," he says.

"The Buzzcocks asked me to do shows with them and said I would fit right in. I'm glad I did. It was edgy and a bit hostile but not for very long and it was the right thing to do.

"It got me out of Manchester and out of England. Since then I've circumnavigated the globe nine times. I couldn't have done that without punk rock."

Since then his influence has extended over the years and to new bands. He is particularly pleased with the band Arctic Monkey's version of his poem, I Wanna Be Yours.

"I loved what they did and their version is absolutely fantastic," he enthuses. "They covered a light hearted poem into a heartfelt love ballad by not doing very much. The guys are really top."

And he says he "loves" their stuff though admits to being a bit "old school".

"I'm a very old man and have listened to music all my life," he jokes. "I've got Sinatra on the CD now but like Doris Day too and other popular music. And I'm appreciative of Elvis of course."

And it seems music has influenced his poetry.

"Beasley Street is inspired by a song in the musical 42nd Street," he says. "I wanted something cheesy and worked my way backwards.

"I don't rely on inspiration though," he insists. "It's all about graft and putting in the hours. Inspiration is for amateurs. I've always got a notebook with me and am constantly making notes - sometimes even on stage.

"I've got books full of lines - sometimes that's all it takes. Sometimes one line gives rise to a five page poem."

So no plans to retire then?

"Oh no, poetry is not something you have to retire from and I've no intention of ever quitting," he says categorically.

"I've been lucky - there have been ups and downs, of course there have, but I feel lucky to have the opportunities I've had to do this.

"The level of success I have now is greater than I've had before and it's better now.

"My stuff is better and I'm writing more - in fact I've been writing a lot lately so a new book is definitely due!

"I couldn't have planned it though - in fact if I had it wouldn't have been like this," he chuckles.

"And I'm just amazed that as an old man I'm still packing out the halls and people are still wanting to come and hear my stuff.

"That's pretty good isn't it?"

John Cooper Clarke is at the Royal Festival Hall on Saturday, October 4. Tickets cost from £22.50. Visit www.southbankcentre.co.uk or call the box office on 020 7960 4200.

Review - Ballyturk, The National Theatre

THREE STARS

SO what is Ballyturk all about then? Actually I have no idea. It could be a play, a comedy sketch or just a piece of physical theatre and as such it's a bit difficult to explain.

Written and directed by Enda Walsh and now on at the National’s Lyttelton stage, it consists of two characters, named or known as 1 and 2 who live in one windowless room adorned with just a few pieces of furniture, a shower in the corner and a cukoo clock.

Played by Cillian Murphy and Mikel Murfi the pair don’t stray out of the room at all. Instead they adhere to series of bizarre daily routines which consist of manically dressing and undressing each other, showering each other in talcum powder, racing around the room, playing darts, manically dancing and jigging about to pop music, pretending to be a range of funny and absurd characters from an imaginary Irish town of Ballyturk, talking about bunnies and leaping about the set with considerable athleticism.

Who they are is unclear - they could be on speed, they could be hermits, in some kind of institution, or the inhabitants of someone's mind.

About half way through just when I was thinking the piece was just going around in circles like a hamster on a wheel, the back wall slowly falls down and in walks Stephen Rea, nonchalantly smoking a cigarette.

It’s not clear who he is either but whatever and whoever he is, there is an awkward silence where they all sit down before Mikel Murfi makes tea and a brings in a Jenga-type tower of biscuits which inevitably collapses.

As 3 Stephen Rea breaks the routine and brings a certain amount of calm and sombreness to the proceedings. But once he has left they ramp up the absurdity of the situation resulting in Cillian Murphy’s character having a fit on the floor before the final exit.

It's shocking, mad, bonkers, energetic, frenetic, loud and absurd and there was so much energy exuded in this piece that it's exhausting.

And while I may not have understood much, if anything, about what was going on, it was an enjoyable 90 minutes nonetheless filled with both laugh out loud humour and poignancy.

Ballyturk is on at the Lyttelton, South Bank until October 11. Tickets cost from £15. Visit www.nationaltheatre.org.uk or call the box office on 020 7452 3000.

Interview Will Featherstone - Doctor Scroggy's War

IN the centenary year of the outbreak of World War One, a new play has been written which takes a sideways look at one of the deadliest conflicts in history.

Written by Howard Brenton, Doctor Scroggy's War explores the work of doctor Sir Harold Gillies and the profound impact he had on the lives of hundreds of injured and traumatised young soldiers.

It focuses on the pioneering work he did at the Queen's Hospital in Sidcup (now Queen Mary's Hospital) treating those who were horrifically injured in the conflict

It was here that Gillies and his colleagues developed many techniques of plastic surgery, performing more than 11,000 operations on more than 5,000 men.

His incredible story has provided the basis for the new play which has its premiere tonight (Fri 12th) at the Globe theatre.

It stars Peckham actor Will Featherstone who plays Jack Twigg, a young man in the middle of a university degree who signs up to fight with the London Regiment.

But almost immediately he suffers life changing injuries and is sent to the hospital where Dr Gillies helps save his life and his sanity.

For the 28-year-old actor it has provided a chance to find out more about those who were a vital part of the war effort but whose remarkable lives and contributions are often overlooked.

“It’s been fascinating and such an opportune time to put on the play,” says Will. "We all know about the battles and huge loss of life but I've learned so much about what happened away from the theatre of war.

"This play looks at those who were behind the war effort and the impact it had on their lives - the mums and dads whose sons went off to fight, the girlfriends they left behind, the doctors and the real belief they had that it would be over by Christmas.

"What surprised me was the fact that despite their terrible injuries most of these men were desperate to go back to the front. It was a kind of badge of honour and a glory for them."

For Will's character Jack, this is no exception

“Jack Twigg is an Oxford undergraduate who enthusiastically enlists," he says. "The play follows his war journey - from signing up to going to France and his fight to get to the front and what happens to him when he does.

"Within days he loses half his face and gets sent back to Dr Gillies. He feels worthless and yet despite all that pain, suffering and trauma he clings on to the fact he just wants to get back to the war.

"Howard gives him lots of reasons not to go back - he loses his best friend, the love of his life but he is so determined.

"It’s an incredible mindset and I admire his perseverance, determination and loyalty. He was so young - only 19 - and it was the biggest challenge for me to get into the part because I've never been put in the position of having to make a choice like that.

"Who is to say how we would feel and whether we would do the same. It was a different time and a different method of warfare to its modern equivalent.

"But Jack was like so many young people at that time who really believed in their duty to fight and protect their country. They were so brave."

Despite the subject matter, Will says far from being maudlin, the play celebrates life and features a huge amount of humour.

"It does sound very heavy and it's obviously very moving but it's hilarious at times," he laughs. "It's brilliantly written and a fantastic and wonderful story.

"It's all down to the writing - I think Howard Brenton is the greatest living playwright - he is a writer who makes you cry one moment laugh the next. It’s incredible.

"But it's also because Doctor Scroggy, who is a mysterious figure within the story, is all about the medicine of fun.

"His alter ego, Dr Gillies was pioneering - he was doing all these amazing things medically but psychologically he believed in the healing power of humour and would dress up and muck about with his patients to try and alleviate their suffering."

And he says he's looking forward to helping tell the story to a Globe audience.

"It's a wonderful place to share a story especially one as great as this which is of such bravery and courage," he enthuses.

"The greatest privilege for me is to be part of this story and we are all now really excited about getting on to the stage."

And Will is no stranger to the Globe having played Romeo in its Playing Shakespeare production of Romeo & Juliet two years ago.

“It was amazing because we all knew it would be the closest we would get to what an audience would have been like in Shakespeare’s day,” he says.

"It's a play about young people, for young people and the pit was full of teenagers and they were really interacting with us – shouting out and when we had lines which ended with a question they’d shout out an answer – it was fantastic – they got so into it. It was brilliant!"

There may be less of that interaction this time around but it hasn’t dampened Will’s excitement.

“The Globe is one of the most amazing stages," he says. "It is such an inspirational space – it’s so lovely to be back and I can’t wait!"

Doctor Scroggy's War opens at the Globe tonight and runs until October 10. Tickets cost from £5. Visit www.shakespearesglobe.com or call the box office on 020 7401 9919.

Review - Comedy of Errors

FOUR STARS

MISTAKEN identity is a common theme in Shakespeare's plays but his Comedy Of Errors takes it to extremes by introducing not one but two sets of identical twins. Things are complicated further with the fact that each twin has the same name.

Antipholus of Ephesus and his servant Dromio were separated from their brothers, Antipholus of Syracuse and his servant, Dromio soon after birth.

However when they are unknowingly reunited in Ephesus many years later all manner of hilarity and farce ensues.

It is one of Shakespeare's best plays and a new production by Blanche McIntyre now at the Globe really does it justice.

Despite a somewhat slow start, with the Antipholus brothers' father Egeon rather laboriously setting the scene, it zips along at almost breakneck speed with some amazingly choreographed physical comedy, timed to perfection.

It is exuberant, entertaining, hilariously funny and full of mayhem, chaos, farce and slapstick - parts of the set collapses, there are explosions and fights with various foodstuffs including a pink octopus.

And the acting is fantastic. Simon Harrison and Matthew Needham not only excel as the Antipholus brothers they also look incredibly similar, making it hard at times to identify them - as is the case with Jamie Wilkes and Brodie Ross who are fantastic as the put upon Dromio brothers.

Hattie Ladbury as Adriana, wife of Antipholus of Ephesus, also puts in a particularly good performance and Emma Jerrold as the Courtesan is a gem.

And with sumptuous costumes, lovely music and a great supporting cast this is definitely a production to savour.

Comedy Of Errors is on at the Globe, Bankside until October 12. Tickets from £5. Visit www.shakespearesglobe.com or call the box office on 020 7401 9919.

Review - Fully Committed

FOUR STARS

THERE'S no doubt that waiters, waitresses and bar tenders can find themselves on the receiving end of some disagreeable customers from time to time.

But spare a thought for the drudge who takes the bookings - especially those for the most popular and sought after restaurant in town.

A glimpse into what their lives must be like is the focus of Fully Committed, an hilarious one-man play by American writer Becky Mode which has just opened at the Menier Chocolate Factory and which could have you thinking twice next time you want to berate the poor soul who can't get you into the Chiltern Firehouse.

Starring Kevin Bishop, it is directed by Mark Setlock who helped create the original show and which launched the Menier 10 years ago.

Kevin plays resting actor Sam Peliczowski, who, in between trying to boost his flagging career and making time for his father, mans the phone at the most swanky and in demand restaurant in Manhattan.

He sits in the basement, alone save for the phones which ring incesently and an intercom to the restaurant upstairs.

Every day he speaks to, or rather is spoken to, a whole manner of characters, most of whom want to eat at the restaurant.

They include coked up Bryce, an Australian PA to model Naomi Campbell who demands a vegan tasting menu for 15 and who promises to bring in his own light bulbs if the restaurant doesn't have any dim enough, Sam's prima donna boss, a fellow actor who bitchily rings him up to gloat about his own success at the expense of Sam's, a wealthy dowager who demands to be at the top of the VIP list, a mafiosa boss and plenty of others in between.

Kevin not only plays Sam but every other one of the 40 characters Sam speaks to. Not only are there different accents and mannerisms to portray but it demands dazzlingly quick character changes.

All of which Kevin does effortlessly. It is an astonishing performance and combined with an hilariously witty and biting script makes this play one to recommend.

Fully Committed is on at the Menier Chocolate Factory in Southwark Street until November 15. Tickets cost from £29.50. Visit www.menierchocolatefactory.com or call the box office on 020 7378 1713.