Upcoming gigs

Upcoming Gigs

Click here for my Facebook page or follow me on Twitter @Henry_Raby

Say Owt Slam #18 25th Nov 2017 @ The Basement, York

Say Owt Slam #19 3rd Feb 2018 @ The Basement, York

Whatever Happened To Vandal Raptor? April tour:

Durham @ TTEST 12th

Leeds @ Workshop Theatre 17th

Hydra Bookshop 18th

Derby Theatre 20th

Harrogate Theatre 23-24th

London @ Ovalhouse 25-27th

Nerd Punk Boom Launch 28th April (venue tbc)

Spoken Weird 3rd May, Halifax

Gong Fu Poets 31st May, Durham

Saturday, 9 December 2017

20.17 Blog #37: 2012, Starbucks, Cuts, Tax and debating the facts

5 years ago I took part in one of the most successful pieces of protest I think I’ve ever been part of.

Cast your mind back to those early days of the Coalition.  The message being transmitted from Tory Towers with little Lib Dem liars giving little Lib Dem thumbs up was:  The country is broken.  It’s bust.  It’s cashless.  So we can’t afford apparent luxuries like the NHS, welfare and housing.  Soz.  #toughchoices

The immediate argument in response was:  There is loads of money out there.

One of the loudest arguments was to close the tax loopholes, redefine the definitions between tax ‘evasion’ and tax ‘avoidance’. Or just tax massive companies more.  Amazon, Google and Boots were all seen as huge profit-making companies that refused to pay their tax.  You can read about it here.  Starbucks had paid no corporation tax whatsoever in 2011.  None.

This all feels a little bit like treading water, so apologies if you all know.  But at the time, it was news to me.  It felt like it wasn’t just ideologically hating the Tories, the Party I had been warned about throughout my life, but that there was a very decent argument to oppose their austerity.  We were right.  We had good reasons.  We were not being represented by the media.

UK Uncut had been holding occupations and sit-ins to raise awareness of this situation.  They called for a day of action on the 8th December, arguably one of the busiest shopping days in the calendar. A in York group organised to stand outside Starbucks with free tea, coffee and cake and discourage people from giving their cash to the business, whilst raising money for a York women’s refugee shelter.  Also because food is political, and food should be free.  And food and coffee should not be a tool for a massive corporation to make money while cuts will affect everyone at the very bottom.  Starbucks even tried a divide-and-rule tactic warning staff if they were forced to pay taxes it could affect their staff’s rights.  Nonsense, of course.

Firstly, this little action felt a very novel idea, despite it not being particularly large.  But until then a lot of focus had been around waiting for Trade Unions to call massive strikes, or funnelling people into London demos.  This was before the Occupy movement, and giving out free food on the street (through York Food Not Bombs) felt novel.

So the Police came to keep an eye on us, and the Manager of Starbucks came to keep an eye on us.  And people took our grub and went elsewhere.  And at one point Jimmy Carr (who had a gig that night) nipped past our protest to grab a coffee.  He’d recently been embroiled in a tax scandal, so goodness knows why he decided to risk more media attention for choosing a tax-dodging business.

Now an 'alternative' to austerity is part of the political conversation.  There are other pots of money, other opportunities, other streams to explore is part of a new conversation.  Closing tax loopholes, taxing the very, very rich and finding an alternative to austerity are all part of Labour’s recent manifesto.  And even the Tories seem to be rebranding as Nice Tories with slightly less cuts and the offer of Millennial Railcards in their recent budgets.

And I think it’s because groups like UK Uncut and little local pockets of activism started to change the conversation, raising awareness, keeping it in the public eye.  I’m going to talk more about it in another blog,  but I just wanted to reflect on 5 years ago when we were building a momentum (but not that kind) to open these discussions in the freezing cold, outside Starbucks.

Monday, 27 November 2017

20.17 Blog #36: Save Charles Hutchinson

It was announced last week that Charles Hutchinson, Arts Editor for York Press, is under threat from redundancy.  You can read up for more context here.  This blog is about the local issue of Charles’ valuable position within the York scene, but I hope it resonates with all local communities that feed into and support one another.

I have old clippings from the very first shows I was in as a Youth Theatre member where Charles reviewed the shows.  Part of the struggle of Youth Theatre is to get noticed by press, nationally and locally.  It is simply not recognised as a ‘proper’ artform by the gate-keepers of the culture, whether the staff of magazines and newspapers themselves or even, sadly, the Marketing Department of theatre buildings.  But Charles would come and review Youth Theatre, and continues to do so.  It is amazing to say to a young cast we have a reviewer in, and their work will be treated fairly by someone in the paper for all their family to see.  There cannot be many reviewers for local papers up and down this country who will readily come and watch, review and champion Youth Theatre.  This is one of Charles’s many mighty traits.

Charles must have reviewed every theatre company in this city at some point, giving them time and space in his columns.  York has a wide art scene, and Charles could quite easily focus on the larger theatres.  But he also visits the pub shows and the site-specific works when he can.

What does this all matter?  It shows that someone with power cares about your work.  That someone in a privileged position can give you space in the local paper, and a platform.  Actually there’s a lot of kindness and generosity in how Charles navigates the scene.

Of course, I have issues with the chap.  We’ve been trying to drag him down to Say Owt gigs for years (even though he always does a lovely preview for us).  We argued about his call to chop out the Porter in Macbeth (the only working class character!).  And I’ll be perfectly honest, I know some people across the network take issue with certain elements of Charles’ reviews or approaches.  But there is no denying he’s always up for a lovely healthy debate and natter, whether about theatre or Elvis Costello.  He’s amicable and approachable around when you bump into him, always up for a chuckle and puts his heart into the scene.  And it sets a great example for cross-promotion, watching each other’s back and valuing our art.

It’s not just the fact we need an Arts Editor for the main paper in the city, but that we need them to be a chummy and committed person like Charles.

I write this because I hope Charles can remain as long as he feels he can best serve York, and that the role of Arts Editor will still exist as a vital lynchpin of such a cultural hub.

Friday, 17 November 2017

20.17 Blog #35: Anarcho-Autosuggestion (and a Westeros wall map)

This week I watched Tim Crouch’s TEDx talk on The Art of Autosuggestion.  If ever you’re feeling bored, just watch some TEDx talks.  You’ll feel much smarter and, more importantly, more productive for your time.

Tim’s always been an influence on me as a writer and performer, ever since I saw his ground-breaking show The Author back in Edinburgh Fringe many years ago, and I love his magical I, Shakespeare plays.

In the video (which you can watch below) Tim talks about Emile Coure and how “our actions spring not from our will, but from our imagination.”  If we can control our subconscious, we can change the way we perceive the world which means we change the world.  Not only essential for mental health, but also for theatre-making.

A theatre company that highly influence me is Third Angel, who have various styles and use various technologies.  But they always acknowledge the presence of the audience in some way.  Alex Kelly beings their show 600 People with a list of welcomes, with appropriate responses.   I recently say Mobile by PaperBirds which not only acknowledged the audience, but welcomed them into the mobile home space, and thus the story.  Though I often struggle with immersive theatre where I am meant to specifically play a role, I do enjoy theatre where the audience are recognised.

This is entirely the spoken word and performance poetry form.  A performer faces an audience, often dictated by the performance space and microphone.  Sometimes the audience are cast, sometimes they are encouraged to interact more, sometimes the poem is not addressed to them but nevertheless it’s hard to ignore a group of people sat.  In theatre terms, there are no 4th walls.  There aren’t even 3 normal ones.

So this means any story, location or character presented in the poem exists solely in the audiences minds.  Unless props are used, which rarely are, the audience rely on the words and the poet’s hypnotic delivery.

“Let the imagination in” Tim says.

The subconscious re-writes what we’re shown.  Or indeed, told.  We don’t need to believe Hamlet exists in front of us, we just need to place an autosuggestion within our subconscious.  When Hannah Davies tells her story of finding all manner of objects in her son’s pockets we don’t need to actually see them.  That would ruin the magic, and the power, of our own imaginations.  All she needs to do is implant the suggestion of the gun-shaped twig and the bubblegum wrapper.  We shape the twig.  We taste the gum.

Theatre sometimes does everything for the audience.  It lays out the world on a plate.  But when I first read Lord of The Rings, I had no reference point for a map.  I had to construct it myself.  When George R. R. Martin was writing his Song of Ice & Fire series, there was no map.  Book-lovers pieced it together.  Now my wall has a huge map of Westeros and Essos, but at one point that world existed only in the heads.  Maybe this is why I get grumpy about how quickly characters in the show can seemingly teleport from place-to-place.

In my show, Whatever Happened To Vandal Raptor?, I did question:  Why not just cast the show with 4 actors, rather than multi-role them?  Was this my nervousness around working with others?  My ego at not letting others say my words and my story?

I wanted to implant the suggestion of these characters.  They are as tangible as you want them to be.  They appear through me, but moulded and formed by the receivers:  the audience.

The 4 characters in many ways represent 4 different aspects of not only post-punk life but parts of me.  Enthusiastic but stretched, tired and cynical, confident but rudderless, hypocritical and spineless.  And in this spectrum, the audience are invited to find parts of themselves, either on one end in the raging passionate Hog character or the timid, but still present, Bert.  The idea of these characters exists, and those ideas are made real inside the audience’s minds.

“The creative act is not performed by the artist alone” – Marcel Duchamp quoted by Tim in his talk.

Think when we talk of horses, that you see them”- the prologue of Henry V

See not a punk, but think of a punk.

Tuesday, 7 November 2017

20.17 Blog #34: Zoetrope, mental health and Youth Theatre

I remember reading a book about Mindfulness.  One Mindfulness exercise is to focus on breathing, to slow down, take time to fall into a rhythm, break the tension and be meditative in order to not get overwhelmed with negative thoughts.  If the thoughts get too over-powering, just pull yourself back to the breathing.

The instructions about focusing on breath, being aware of your whole body and checking for tension and stress all seemed familiar to me.  Doing the exercises unlocked a little memory in the back of my head:  I had, at one point, laid on the floor and moreorless done this exercise before.  It wasn’t called Mindfulness, it wasn’t presented as something for mental health either.

It was a Youth Theatre session, back when I was around 16-18.  It was preparing for a run of a show, or possibly for an intensive rehearsal.  Or maybe even at the end of a long rehearsal.  It was about calming down, finding a focus and making sure mentally, as well as physically, we were in tune with ourselves.  It’s something I have used with my youth theatre groups over the years as a practitioner.

I don’t remember ever hearing the term ‘mental health’ when I was a teenager at school.  I knew people got depressed.  But not the nuance, nor the universality that everyone if affected by mental health problems at some point in their lives.  I remember being aware there was a number you could ring at my University if you needed someone to talk to.  I never did, but I really appreciated its existence.  It seems so clich├ęd to say, but these days young people today are so much more clued up to mental health issues.

On Saturday I went to see Zoetrope, a West Yorkshire Playhouse Youth Theatre production written by Rebecca Manley and directed by Gemma Woffindon.  A Zoetrope is device which, pre-dating cinema, creates the illusion of movement with a sequence of phases of motion.  A spectrum.  And the characters in the play represented a spectrum of mental health, all denoted by a colour of the rainbow.  These characters were accessible and well-defined, but not stereotypes or caricatures.  They were masterfully portrayed by the young cast who each embraced something unique and tangible about these 7 young people dealing with anger issues, an eating disorder, depression, self-harm, voices and alcoholism to name but a few.  The pace of the show meant we were never overwhelmed, except at key moments when the revolving stage showed intense situations, both within a characters minds and outside in the social world.

The rest of the cast provided the chorus of parents, doctors, nurses, support workers, solicitors and school friends that influenced the lives of these characters.  The power of a tight ensemble presented a clockwork world of formality, with one well-choreographed burst of energy in the middle of the show at a frantic house party.

Plenty of warm moments of humour and camaraderie were balanced with dark, almost hopeless, undertones making a rewarding 67 minutes of strong youth theatre, with a heart-stoppingly powerful penultimate scene followed.

I know that schools are also talking about mental health, and that it’s becoming much more mainstream to talk about these issues, rather than hide them away.  And it’s incredibly stirring that this is being presented through the diverse genre that is youth theatre.

Wednesday, 25 October 2017

20.17 Blog #33: Frack Off!

How do you write an Anti-Fracking poem?

In May 2016 North Yorkshire County Council approved an application to carry out Fracking outside the village of Kirby Misperton, near Flamingo Land.  An existing wellsite, this would be the first time Fracking had happened in the UK 2011.  I’d spent a lot of my activist energy against austerity, and green issues like Fracking had always been on my periphery vision. But I went to the day-long protest and debate in Northallerton.  Suffice to say there were people from across the country from different backgrounds and ideologies opposing this dangerous use of fossil fuels.

In true punk rock tradition, if you have a grievance with the world you create a 3 minute piece about it.  So I wrote ‘Boroughbridge Road’ which went through various iterations and edits before finally ending up as the poem you’ll find on YouTube.

The poem came out of that vast day of people coming together with an empathises on Yorkshire-ness.   I often worry so much it doesn’t work when performed outside God’s Own Country.  The anti-fracking movement has many heads, and one is to defend the rural countryside as beautiful, peaceful and homely.  At the climax to the day, everyone held aloft a White Yorkshire Rose to symbolise the purity of the Yorkshire countryside.  The White Rose may be a royalist emblem originally, but to me it means home and community.

So that was my first experience with the movement.  Since then I’ve visited the Kirby Misperton Protection Camp and the gates several times.  I’ve been to Preston New Road site and hope to do more as the struggle escalates.  Of course, there can be many other reasons for fighting fracking not associated with the purity of the landscape.  I’ve asked myself, if the site was a wind farm would I be so quick to defend the green?  There are plans for 1000 new buildings in the Hammerton area.  In the middle of a housing crisis, should I be opposed to this like I’m opposed to Fracking?

The answer, to me, lies in the massive dangers associated with Fracking as proven time and time again in Australia and America and no matter how many times Internet People assure me that British laws and regulations will keep the water and land safe, I simply to not accept the risk when companies’ priorities are profit.

So I decided to use my poem as a piece of propaganda.  It would be a tool to use at open mics, slams and general gigs.  Its continued use of the White Rose imagery works well in local York pubs, we’re quite proud of our boundaries up here in t’North.  Insult the Yorkshire attitude and we’ll retaliate.  The North is often to the firs to be slashed in its public services.  I don’t think it’s a coincidence the three hot spots for Fracking licences have been Barton Moss (outside Manchester) Preston New Road (outside Blackpool) and Kirby Misperton (25 miles from York).

So I was trying to inspire a defence of the Yorkshire land in the poem.  I enjoy reading it and getting away with saying “frack off” in the pub.

Please come to the gates of KM8, the wellsite outside Kirby Misperton.  Visit the protection camp.  Find out for yourself what is happening.  The people defending the countryside are a mixture of the young and old, the hippies and the middle class, locals and visitors.  It’s passionate and friendly and beautiful and I’m proud to be have been part of it, and will continue to be.  Below is a list of things you can do to support the anti-fracking movement.

·         Visit www.frackfreenorthyorkshire.com and www.frackfreeryedale.org to read up on the local dangers of Fracking and to join the mailing list.
·         Visit www.frackfreeryedale.org/donations to donate whatever you can to support the campaign.
·         Join the Facebook groups Kirby Misperton Protection Camp and Frack-Free York to keep updated.
·         Share articles and information online.  If you’re on Twitter, follow @F_F_Ryedale and @FFNYorkshire.  #Frackfree #WeSaidNo
·         Contact your local MP www.parliament.uk/get-involved/contact-your-mp/
·         Write a letter to York Press, BBC Radio York or your local press.
·         Contact Secretary of State for Energy Greg Clark MP greg.clark.mp@parliament.uk
·         Contact Third Energy to tell them to stop Fracking:  https://www.third-energy.com/contact-us
·         Politely ask the companies supplying the Fracking site to reconsider who they are working for and the damage they will cause:
Sky Scaffolding Stainsacre Lane Industrial Estate, Fairfield Way, Whitby YO22 4P 01947 821259
Moorhouse Drilling Bessingby Industrial Estate Enterprise Way Bessingby Industr, Bessingby, Bridlington YO16 4SJ 01262 608731
Grimaldi Agencies UK Ltd 28 St James's Square  St James's  London SW1y 4JH 0207 930 5683
Walker Crane Services Motherwell Trading Estate, Motherwell Way, Grays RM20 3XD 01708 867251
·         Come down and support in person
·         Visit the Protection Camp where people are camping over to be closer to the protest.  Maybe take some supplies, toilet paper, water, food etc.  Being a smile and show your support.  It’s on Kirby Misperton Road, left off the A169 as you drive towards Malton, postcode YO17 6UE, follow the signs for Flamingo Land.

·         Visit the protests which are happening outside the Fracking site.  Every weekday local residents are taking a stand.  It’s on Kirby Misperton Road between Kirby Misperton and Little Barugh village.  Again, if you can bring sandwiches and support that would be greatly appreciated by the local residents who are continuing to fight against Fracking.

Tuesday, 10 October 2017

20.17 Blog #32: Praise is my Kryptonite

Today is World Mental Health Day, so I thought I’d throw my tattered flat cap into the ring.

I wrote a blog a-g-e-s ago about my anxiety in a social landscape which you can read here.

I constantly have this little voice in my head telling me I’m shit.  I’m worthless.  I’m a failure.  I’m not going anywhere.  After I perform, no matter the response from the audience, seconds after leaving the stage I’ll be strategically analysing everything that went wrong, or could go wrong, with the set and night.  Glass half empty?  More like glass gets smashed.

I had a mentoring 2-days with Third Angel which was staggering useful about funding, company structure and planning for making theatre work.  It seems so natural now, but it took me years and years to even begin to consider applying for pots of money or stepping outside the comfort zone of small scenes because I thought:  “Who would want to give me any money?”  “Who would want to book me for a gig?”  Cos I’m naff, said the brain.

 I shudder at arrogance and ego like Gollum squirms at Elvish rope.  Overly confident poets and artists really get my back up.  They are few and far between in our scene, but their swagger seems alien.  Yet praise is my Kryptonite.  If someone says:  “That were good, Henry” I think they are:  Lying, wrong, confused, stupid as I say “Thank you!”

It’s because my brain, for whatever reason, has been wired over years to see the negative than the positive.  The brain is a muscle, the more you exercise it the more it grows in a certain angle.  I recently did an online CBT course in trying to rethink how you think.  I’m trying to do more mindfulness exercises.  Eat healthy.  Go for walks.  Listen to less angry music.  That’s hard for me.  Love my angry music.  Any further recommendations welcome.

In our last slam we have a number of poets come down to read very personal poems about their identity, sexuality, gender, mental health and survival.  It was very impassioned and beautiful and, I’d like to hope, somewhat empowering.  And that matters in that moment, at that time, in that space.  All strong pieces, all being shared, all being appreciated.  The hierarchy of poetry seemed not to matter a jot (it might have helped our guest, Jackie Hagan, celebrates the mistake, the failure, the incompetence, the imperfection).  

Thanks, poets x

World Mental Health Day is raising awareness, and poetry is a perfect tool to say to an audience “HEY I feel like this!”  Rather than paste over this fear, better to show those cracks as we rebuild the house.

“Bran thought about it. 'Can a man still be brave if he's afraid?' 'That is the only time a man can be brave,' his father told him.”

Thanks Well-‘ard Eddard.

Tuesday, 3 October 2017

20.17 Blog #31: Punk Publishing

Since I started writing poems, I’ve been trying find ways to put them into the world beyond words.  In my first year I (rather arrogantly) made a CD of recordings using a little Dictaphone without any sense of editing, structuring or whether anyone would actually want the bloody thing (I guess marketing).

I also put some poems out in the form of zines, under the title Snapping Turtle Press.  This was me and my mate venturing into some self-publishing, and we really enjoyed the rough-and-ready DIY element of glue, staples and combining words with illustrations.  I even went to a few zine fairs, but in the end it was just a fun hobby and it takes a lot of energy to keep putting out zines, so much respected to regular poetry zines like Paper & Ink whom I devour.

I always had huge respect for Burning Eye Books, who mainly focus on publishing performance poets across the UK.  At Say Owt, the night I run, we’ve had lots of their published authors, Harry Baker, Rob Auton, Vanessa Kisuule to name but a few.  I am hugely proud to announce I will bringing out a collection of poetry on Burning Eye next year! Woo!

The book is called Nerd Punk, which is no surprise to anyone who knows my poetry.  It’s about growing up, friendship and home plus protest and politics.  And dinosaurs.

It’s been interesting pouring through old documents, zines and my memory to put together all these poems from the last 11 years.  I don’t think there are many poems from the first couple of years of my poetry writing and performing career, and some poems never really made it into my core ‘sets’.  It felt like, if someone them weren’t included here, they would get lost in the mists of time because they never made the ‘cut’ to the live performances.  Similarly one of two were very specific to the context of a show or event and didn’t really need to be part of the collection.  Because I couldn’t include song lyrics, one poems just fell apart as it was built around a Bedouin Soundclash song.

It’s been an interesting journey going back in time (and I do love nostalgia).  Revisiting and editing old pieces, realising that the structure is much sharper as it has been shaped by performance.  Rather than chunks being added to a poem, the poem has become more streamline and I hope the pieces are stronger for this.

So keep an eye out for the collection in (hopefully) April 2018.  No doubt I’ll be shouting about where to buy it and have a book launch.  I’d love to get out there in a tour if anyone’s up for booking me around that time, drop me an email henry@henryraby.com