In any event, accompanied by an inherited dog called Dionysus, plucky Sarah trips up and down the country in her desperate attempts to locate her partner and save him.Īll of this is contained in a lovely production by Max Webster that makes full use of the large stage space, assisted by some thoughtful lighting by Lee Curran. He disappears from view but whether this is merely the result of monastic seclusion or suicide takes time to divine. As such, he is following in a long line of pop stars who go off the rails in similar fashion.įrank’s solution is unclear. They tour successfully, having one big hit, which effectively drives Frank over the edge into what many would regard as insanity but he probably sees as a fresh, higher level of insight into his own mind. Miserable Frank and chirpy Sarah originally meet while she is working for the hotel at which the famous rock star is staying.Īfter a brief altercation, they make up over a joint and randomly decide to run off together to a new life and a new band. These help to advance a sad story about a lost soul that is cheered and redeemed by the efforts of Sarah. Many will be drawn to Cover My Tracks by the chance to hear the musician’s compositions from his first solo studio album, which at different times bring to mind the likes of Leonard Cohen and Bob Dylan but are still very much his own. However, in an enterprising change of tack, Matthew Warchus has invited Noah and the Whale front man Charlie Fink and Scottish playwright David Greig to stage this quiet, contemplative two-hander in a late-night slot after performances of Jack Thorne’s loud, modern interpretation of Woyzeck.įor just over an hour, Charlie Fink plays Frank, an introverted rock musician with suicidal tendencies opposite Jade Anouka in the role of Sarah, both his girlfriend and bassist / backing singer. Its stage and large auditorium lend themselves to anything from big-budget musicals to Shakespeare or modern dramas. Often when people ask me what a particular piece is about, I simple ask "What do you see, or hear or feel when they listen to the music"? That's what it's about.The Old Vic is renowned for staging high quality, large-scale theatrical productions. But a nondescript title like "Into the Morning", or "Not Even the Rain", gives the listener the opportunity to create their own images and not be overly influenced by the title. I want my music to be about the listener and to create images based on their own life experiences, not mine.įor example, a title like "The Orange Water Tower that Needs Painting", or "A Rainy Evening under the Eiffel Tower", are pretty descript and could easily influence the image in ones mind as they listen to the music. I make great effort to try not to influence the images one might experience as they listen to the music. Only to say that I try to name a piece with a title that is interesting and might have some meaning to me, but is nondescript. I won't spend a lot of time discussing track titles. I spent a lot of time working on this to get it right. It’s a very important part of the listening experience as the music moves from track to track. I used to take for granted the work that goes into naming the tracks on an album and in what order to play them.
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