Having recently joined in with the Moseley improv scene, it was suggested I write an article for B13 magazine. For research, I interviewed Kate Knight of the Box of Frogs and Kneejerks et al. I met Kate on a pleasant Tuesday evening for a chat about comedy, drama, the improv, and here’s the full interview.
Could you tell me a little bit about your background, and your relationship to comedy growing up?
About 400 years ago, when I was an undergraduate, it was my pleasure to make the acquaintance of John Sloboda, professor of psychology with a particular interest in the psychology of music. For Professor Sloboda, music is “a way of defining community”:
My eyes were really opened to this when I went to Ireland for the first time a few years ago; in any pub or village hall you see people of all ages and ability making music together…in England we are deprived of something by the lack of a folk tradition in our society; the closest people seem to get to music here is karaoke!
Part One: 30 August 2018, The Prince of Wales, Moseley
Late summer last, I was finishing off a short but demanding course in adult education while simultaneously bailed on a GBH charge, pending trial. My choir attendance had rather dropped off the agenda, and with my voice stressed from all the screaming, I was looking for somewhere to warm up it up again. Drinking at my local, I noticed an intriguing poster advertising ‘a night of sing-a-long fun featuring the very best in rock’n’roll anthems’, raising money for St Basils, a charity that works with homeless young people. The gig, apparently chaired by a band called XOM, gloried in the name RockyOke.
When the poster came up in conversation with a close friend, who expressed interest, naturally we made arrangements, and then forgot all about it. But as fate would have it, returning from a botanical excursion one afternoon, I bumped into another close friend, and into the Prince of Wales we shot. On ordering my pint I heard an unmistakable melody floating in: the opening riff from Pink Floyd’s ‘Wish You Were Here’. This struck me very deeply, and following the sound into the beer-yard, we came face-to-face with XOM.
Imagine my delight, and curiosity. Cinderella shall go to the ball! A sound-checking band, including one or two faces I recognised, rehearsing some of my favourite tunes of yesteryear. Lyrics sheets printed up and distributed around the yard. A mutual friend sat on a stool. The sun shone. The very gig I thought with which to warm my voice, and reconnect with community at this stressful time, despite my forgetfulness, had me blown in on the steel breeze.
Maria, in charge of the venue, was checking decibels. Gentrification’s wave sometimes breaks, finding tension and conflict as new residents complain of noise from established music venues. Caveat emptor, a principle with which we are all familiar, sometimes seems in abeyance when considering new build flats next to musical venues, being ‘far from the whole position‘, giving residents an advantage in pursuing noise complaints, potentially affecting the music venue, and its musicians and audience, adversely. This came up last decade: when new build flats went up near the venerable Spotted Dog of Digbeth. One complaint, if I recall correctly, had a significant knock-on effect for their musical events, and the issue of new build flats next to established music venues, and the potential power imbalance, became a live one for all of us who, like Professor Sloboda, care about live music and its role in our society. The life of and around the pub made a great show of support for their side. Similarly, the Prince of Wales had made the issue public, perhaps wary of similar sonic trigger-dramas, and were keen to ensure decibels were monitored, and below certain limits. One sensed a little extra tension in the sound check, but the band’s sense of discipline and camaraderie in the face of modern Britain was immediately obvious.
And anyway, I’d been heartened by news earlier in the year of movement on this issue, after lobbying, in part by local councils presumably fed up of having to mediate such tedium. There was in 2018 a drift towards common sense from central government, on this issue at least, with reference to the perhaps less familiar principle of agente mutationem which, if applied in such cases ought to protect a venue from noise complaints, giving the new arrival the responsibility to mitigate any problems. This article on local.gov.uk covers the basics and provides links for further reading. But in short:
Jonathan Sandilands, maestro of the whole affair, later told me of the genesis of the idea. Inspired by a sing-along event staged by Moselele, Moseley’s premier Ukelele meetup, at the Prince of Wales, as well as previous charity gigs at the venue, Jon put forward the notion of a sing-a-long rock anthems gig.
While writing the story of how I got into acting, I mentioned that I began 2018 with a seven-day fast. This spoken word performance took place at the end of that fast, which was in protest against the two years of abuse I’d been subject to by that point.