Skip to main content

BiDiNG TiME (Remix) - Louise Quinn and Pippa Bailey Go Global

When Louise Quinn found herself in a meeting with twenty people to 
discuss what sort of training shoes she should be wearing, she 
recognised something was amiss. That was when Quinn was fronting the 
band, Hardbody, the 1990s near misses whose major label masters 
instigated such a meeting.

Such an absurd con-flab may have fed into the narrative for the video 
that accompanied The Glimmer Song, a single by Quinn’s current combo, 
the eponymously inclined A Band Called Quinn. In the video, Quinn and 
the band are brought to life by some evil puppet-master who puts them 
in a toy theatre where they’re forced to perform as he sees fit. This 
in turn may have informed BiDiNG TiMe (Remix), Quinn’s version of a 
play written by Australian auteur Pippa Bailey, which Quinn performs at 
The Arches in Glasgow this weekend for one night only.

BiDiNG TiME charts the rise and fall of Thyme, a young woman chasing 
love and fame in a man's world. Where Bailey's original version, first 
performed twenty-five years ago, looked at Thyme's situation from the 
perspective of an actress, Quinn's remix of the play puts her 
first-hand experiences of music business  peccadilloes very much to the 
fore.

“It’s my mid-life crisis project,” Bailey says of BiDiNG TiME, “and 
there’s no shame in that, but I didn’t just want to go back to the 
story, but to look at the whole theatre system and the way it is made. 
There is an economic crisis and an environmental crisis going on, but I 
wanted to look at the role of theatre in that and the role of women 
within that. If all the world’s a stage, if we want to change the 
world, what does that mean for theatre?”

Bailey’s solution after a quarter of a century running arts centres and 
alternative museums was not just to revisit BiDiNG TiME, but to offer 
it out to anyone to do with as they wish. With Grid Iron director Ben 
Harrison having already read Bailey's script, once Quinn discovered it, 
the meeting of minds and ideas proved irresistible to all parties.

“Within fifteen minutes of meeting Pippa I recognised that we’d both 
had that similar brush with the big time, but that we were still doing 
it,” says Quinn. “I thought the original play was great, but I thought 
we could make it darker and more multi-media based, and that I could 
put in my own experience in the music industry. It was a really great 
catalyst to create the show. That over-arching theme of fame and women 
in the entertainment industry is so potent today in the celebrity-based 
culture we live in.”

Quinn is a natural fit for BiDiNG TiME (Remix). As the video for The 
Glimmer Song illustrates, there has long been an inherent theatricality 
to A Band Called Quinn’s oeuvre. This was  borne in part from her drama 
school training at the Royal Conservatoire in Glasgow and stints with 
left-field theatre company, Mischief La Bas. It was only fully on 
capitalised on when A Band Called Quinn took part in Vanishing Point’s 
radical and audaciously dystopian take on The Beggar’s Opera on the 
main stage of the Royal Lyceum Theatre in Edinburgh. BiDiNG TiME brings 
together all of Quinn's creative worlds in close-up.

“The characters are composites of people we knew in the music 
industry,” she says, “and some of the lines are things that they 
actually said. These people were disconnected from my reality and other 
people’s reality. From the outside people only see the glitz and the 
glamour of the music industry, but it’s really quite a cold, grey 
place.”

BiDiNG TiME has already made connections across the world, with artists 
in Iran, Australia and India remaking the story of Thyme in their own 
image. Closer to home, Bailey has worked with kindred spirits such as 
Little Bulb, and has presented related events at the bongo Club in 
Edinburgh. This ties in with Bailey's notion of exploring space and 
location of where and how theatre is made. The result, while still in 
its early stages, has been the creation of a loose-knit global village 
exploring the ideas of Bailey's play in a more intimate, 
community-based environment.

“Rather than tour, I'm more interested in doing it locally,” bailey 
says. “That's something to do with the environmental agenda that's in 
the play, and doing it this way means we're no longer stuck in an 
existing hierarchy that's no longer useful to us. I think people are 
looking for something beyond cultural imperialism.”

With this in mind, the Arches show, directed by Harrison, is produced 
by Tromolo Productions, the company set up by Quinn which also releases 
her band's records. BiDiNG TiME (Remix), then, is about taking control 
on every level.

“How do you get new ideas out into the world?” asks Bailey. “You share 
it. Fundamentally this project is all about change. If somebody's 
interested in doing the play, then let them. See what they do with it, 
and make theatre more democratic.”

BiDiNG TiME (Remix), The Arches, Glasgow, October 6th
www.thearches.co.uk
www.tromoloproductions.com

The Herald, October 2nd 2012

ends

Comments

Popular posts from this blog

Big Gold Dreams – A Story of Scottish Independent Music 1977-1989

Disc 1
1. THE REZILLOS (My Baby Does) Good Sculptures (12/77)  2. THE EXILE Hooked On You (8/77)
3. DRIVE Jerkin’ (8/77)
4. VALVES Robot Love (9/77)
5. P.V.C. 2 Put You In The Picture (10/77)
6. JOHNNY & THE SELF ABUSERS Dead Vandals (11/77)
7. BEE BEE CEE You Gotta Know Girl (11/77)
8. SUBS Gimme Your Heart (2/78)
9. SKIDS Reasons (No Bad NB 1, 4/78)
10. FINGERPRINTZ Dancing With Myself (1/79) 
11. THE ZIPS Take Me Down (4/79)
12. ANOTHER PRETTY FACE All The Boys Love Carrie (5/79) 
13. VISITORS Electric Heat (5/79)
14. JOLT See Saw (6/79)
15. SIMPLE MINDS Chelsea Girl (6/79)
16. SHAKE Culture Shock (7/79)
17. HEADBOYS The Shape Of Things To Come (7/79)
18. FIRE EXIT Time Wall (8/79)
19. FREEZE Paranoia (9/79)
20. FAKES Sylvia Clarke (9/79)
21. TPI She’s Too Clever For Me (10/79)
22. FUN 4 Singing In The Showers (11/79)
23. FLOWERS Confessions (12/79)
24. TV21 Playing With Fire (4/80)
25. ALEX FERGUSSON Stay With Me Tonight (1980)

1. THE REZILLOS I Can’t Stand My Baby (Sensible FAB 18/77) If it wasn’t for T…

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1
1. THE STONE ROSES  - Don’t Stop 2. SPACEMEN 3  - Losing Touch With My Mind (Demo) 3. THE MODERN ART  - Mind Train 4. 14 ICED BEARS  - Mother Sleep 5. RED CHAIR FADEAWAY - Myra 6. BIFF BANG POW!  - Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS - I Remember A Day 8. THE PRISONERS - In From The Cold 9. THE TELESCOPES  - Everso 10. THE SEERS  - Psych Out 11. MAGIC MUSHROOM BAND - You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS - We Dig Your Earth 14. THE SUGAR BATTLE  - Colliding Minds 15. GOL GAPPAS  - Albert Parker 16. PAUL ROLAND - In The Opium Den 17. THE THANES - Days Go Slowly By 18. THEE HYPNOTICS  - Justice In Freedom (12" Version)

1. THE STONE ROSES Don’t Stop ( SilvertoneORE1989)
The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds like it. Vocalist Ian Brown and guitarist John Squire met in 1980 at Altrincham Grammar School. With bassist …