Some Storyboards for “The Night I appeared as Macbeth”

Here are storyboards for William Hargreaves’ song “the night I appeared as Macbeth”

The pictures are not absolutely in the intended order

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The band played the barber of seville quite a lot before I came oncampaign 1548campaign 1549campaign 1550campaign 1551

cos we cut quite a few pages whenever rehearsal went wrongcampaign 1552campaign 1553campaign 1554campaign 1555campaign 1556campaign 1557campaign 1558campaign 1559

oh the flowers, what a feast. they threw it in bagfulls self raising and yeastcampaign 1593campaign 1594campaign 1595campaign 1596campaign 1597campaign 1598campaign 1599campaign 1600campaign 1601campaign 1602campaign 1603campaign 1604campaign 1605campaign 1606

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Dance:campaign 1587campaign 1586campaign 1584campaign 1585campaign 1583campaign 1580campaign 1581

so I put in some lines from some popular rhymes, and some well-chosen words of my owncampaign 1582campaign 1578campaign 1577

I improved the part with a dance
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They threw it self-raising and yeast!

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Here is a version of the song performed by Tim:

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Yet more trial by jury storyboards

Here are some more storyboard illustrations from TRIAL BY JURY

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I’ll tell you howcampaign 1820

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Above: for today in this arena

Below: the judge’s entrance: behold your judgecampaign 1837

to your bright rayscampaign 1835

we never grudge ecstatic praisecampaign 1836

may each decree and statute rankcampaign 1838

and never be reversed en blanc

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Hark the hourcampaign 1823

breathing hope and fearcampaign 1824campaign 1825campaign 1826campaign 1827

in this arenacampaign 1828

for today

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for these kind words accept my thanks i pray

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For these kind words etc

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A breach of promise we’ve to try today

campaign 1833.jpgAll hail great judge etc

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but firstly if the time you’ll not begrudge, I’ll tell you how I came to be a judge

More Matilda

Here are some videos showing progress on the Matilda song

In the “Harmony system” used here, I am inbetweening drawings by drawing between the red (the previous drawing in the sequence) and green (the next drawing in the sequence) In this song, because there is so much action, I am drawing every frame (25 frames/ second) whereas many Disney films rely on 12 frames/ second with every frame exposed twice. This more labour-intensive approach should guarantee much smoother action.

The upper body is sketched in with rough lipsynch in blue

here the arms are encased in jacket sleeves and the whole jacket is added to the figure. Matilda is sketches roughly in blue. For a fuller image, see the end of the previous post (Showreel)

Matilda and saucy postcards

5-tim-copy-of-mcgillA sequence I am working on at the moment (Matilda by Harry Champion*) to complete the two music halls films draws inspiration form the work of Donald McGill.

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Just after the war, about 1300 subversive picture postcards, redolent in double-entendres, were seized by the police and a court case was held to judge whether these cards were undermining public morality. Oddly, it is exactly the same sort of humour that turns up on screen a few years’ later in the “carry on films”. They got away with it. The postcard industry was not so fortunate. The line taken by the postcard artists in court, however, was that the pictures were only offensive to those people corrupt enough to appreciate the risqué jokes. Quite a brilliant bit of legal subterfuge in itself.

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The king of the seaside postcard was Donald McGill. I have spent many months copying his images and my moleskin is stuffed with them! It is only when you look at what an artist does very carefully that you appreciate the cleverness of composition and the recurring features. Donald McGill is really a very good draughtsman! What I love perhaps more than the expressions which are excellent and well-observed are the ways he breaks the frame- constantly!

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His images are just the flip-side of the Dandy and the Beano. The adult-version. His men are whimpy, his women rubenesque. Here are my copies of some pictures by other postcard illustrators – the first one is clearly Edwardian so there is some history to this…

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*Really interesting lyric which I have avoided:

“Matilda she went to a fancy dress ball and she played an original part.
She rubbed herself over with raspberry jam and she went as a raspberry tart.
I went up to hug her and give her a kiss. Well, the jam was all over my kite.
I know she’s a sticker, but lor’ what a licker! I shouted, “You’ve done it tonight.”

The kite in this case would be his belly as in the expression “stuff my kite”. The expression is also in the other song “Boiled beef and carrots”- ‘From morn till night, Blow out your kite on Boiled Beef and Carrots’

“Played an original part”, which I have retained, is a great line with the suggestion that Matilda was not only dressed as something unusual but that she was being a bit rude too.

In rhyming slang “a raspberry tart” is flatulence.

“discovered that I was a jay” – in 1880, this generally meant a fool and is retained in the US in the word “jaywalker”

“the dicky”- slang for shirt.

Daniel Radcliffe, Sitwell & Oxxxymiron

I am not a natural rap fan, but I am always impressed by people who do it with intelligence. Words are words after all and there is a history of rap arguably as old as the G&S nightmare song in Iolanthe, but certainly going back to Edith Sitwell and William Walton’s “Façade”, a series of sound poems or Klangdichtung. Sitwell simply called them an “entertainment”. This nonsense incantation is the stuff of magic and religion. With my own interest in Edward Lear, it is not perhaps surprising that I should be a fan of Façade!

Sitwell first performed Façade standing behind a painted curtain and speaking through a papier-mâché megaphone, the “Sengerphone”. Noel Coward hated it.

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I did the 1951 version of Façade in a concert a few years ago and have always thought how well it would animate! The rapidly morphing images would lend themselves to gloriously anarchic animation. The concert version is much briefer than the revised 1977 version and Walton’s music is tremendous. It is, however, fiendishly difficult to remember all the words because the whole piece is predicated on nonsense. But great fun.

Below is my version of the Cecil Beaton portrait from late in her life. I suppose this was Beaton’s take on the famous triple portrait of King Charles. It was all done with her head poking out of bits of torn paper. Very interesting.

At the time, her personality was probably more important than her poetry, but I think if it is considered in the context of the modern rap movement, Façade becomes much more significant.

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I saw Daniel Radcliffe rap the “Alphabet Aerobics”. Really very impressive.

Here is a link which I hope Youtube does not remove:

Meanwhile, I urge you to follow Miron Fyodorov, now known as “Oxxxymiron” whose work, though so far in Russian, is clearly clever and punchy. Heavily influenced by Grime, (and better than Guf) he is very keen on the Rap-fighting thing and has some bookings next year in Canada when he promises to do something in English. Meanwhile, he is writing his third album.

Here is a song from his second Album “Gorgorod” which tells a story through a series of rap pieces. This song was, I think, censored by the TV screening. I was in the audience (the show was the Russian equivalent to the Graham Norton show, or The late late show with James Corden in the US) and afterwards the host of the show, Ivan Urgant I think, gave me a signed T-shirt asking me publicly (to much mirth from the rest of the Russian-speaking audience) whether (a) I spoke any russian at all, and (b)if I understood what was going on. I confessed that I had not the slightest idea but that I was a dutiful member of the audience and I knew my job was to laugh and applaud. It was clear, anyway, that Miron was in complete control!

http://www.independent.co.uk/news/world/europe/the-man-who-was-raised-in-slough-and-raps-in-russia-8324127.html

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Ola Kala

While there is a fairly good account of the introduction of the expression OK into the UK in the song “Walking in the Zoo” sung by Alfred Vance, the Great Vance, one of the great “lions comiques”, it probably emerged from the Greek migrant population in Boston or New York and is first recorded in use in 1839.

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The sheet music here is decorated with a drawing by Richard Childs and dates from 1871.

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Sakis Rouvas (whose birthday is tomorrow) popularised the term “Ola Kala” in a Greek pop song written by the American songwriter, Desmond Child in 2002. Child also wrote “she bangs” and “La vida Lorca” for Ricky Martin.