Performing to the most important audience

11 April 2013
I have passed through the euphoria of the successful Bartelt breakfast and beholding the gorgeous teenagers while high as a kite on morning coffee, into the Valley Of Considerable Fear.
At the back of a big auditorium, the crop of swaying teenagers laid out before me, we are watching a dance performance. I am loving it. I am glad I'm not sitting next to Bartelt who, being an ex-dancer and choreographer who worked for a period of time with Pina Bausch, would undoubtedly have an opinion. I mean, he has an opinion about *everything* but he *really* has an opinion about dance.
The inestimable Ingrid Wilde is making a speech, it is she who has brought us here, but it's not only that which makes us like her. She seems to also be a case of utterly great, and she certainly is as she respectfully stamps her authority on this event - and the 15-year-old audience - as it gets under way. She only produces nine regional Schools Festivals for the Grahamstown Foundation, as well as the national festival: whatever.
Very soon I am walking down a side-aisle, smiling at the students, who are wriggling and talking and laughing and not noticing me at all. OH.... this is terrifying. These kids are about to be bored out of their minds by my story of death and misery and grief. It's going to be awkward for every living soul in this room, so awkward that I'm sure even people not in the room are going to feel awkward and have no idea where the feeling is coming from: it'll be viral. The whole of Kwa-Zulu Natal will be in the grips of an Awkward Storm which no living weather specialist will be able to diagnose. This is an occasion for which the current usage and popularity of the word awkward has, indeed, been invented.
These are not unfamiliar feelings and, like childbirth and death itself, the only thing to do is just get on with it regardless of how I'm feeling. Unlike childbirth and death itself, though, the auditorium lights dim and I am blinded by the powerful stage lights. There is nothing left for me but to declare, for the 21st and final time on our South African tour, "A year or so after my sister was killed a friend of hers came to stay with me in London, and we went out, we went out drinking." And we're off.
Now, Bartelt and I think we have written a very funny show, make no mistake. The fact that no audience has yet appreciated all of our jokes is irrelevant - the gags have taken it in turn to be appreciated, which much more classy, obviously. And yet.
It is today that we have finally met our match: *this* audience gets us. They laugh like drains at the refrigerated gag, and so many others, that I keep having to stop for the laughter to die down. Not only is their shock at the content of the show palpable, but it is audible: everything comes out of their mouths and we all have a hoot together, tears together, some truthful journey together. I have done a bit of stand-up and have sampled the smallest of intoxications when a room above a pub full of folk laughs at your jokes, but has nothing on this. This is an 350-teenagers-full auditorium, laughing at our jokes and at my delivery. I go off-script a bit, impro-ing around like I'm not supposed to, but I am feeling the closest to a superstar I'm ever likely to feel and it's absolutely fine by me: this need never stop.
At the end the applause is sustained and touching, and silence for the dedication to our five dead journalists all the more moving, as I feel these powerful creatures of tomorrow, taking in the facts, ruminating on them, realising what I have just said: that today's performance is dedicated to the following people who died like Kate in 2005 on account of their jobs:
Julio Hemando Palacios Sánchez, radio journalist,
Colombia Hussam Sarsam, tv journalist,
Iraq Elmar Huseynov, journalist,
Azerbaijan Ahmed Jabbar Hashim, journalist, Iraq
Marlene Garcia-Esperat, journalist, Philippines
and to their families.
(Please do view the full list of dedications from the entire life of the show.)
I can feel them take in the fact that these people died to get the news out to us all, to them.
In the break which follows Bartelt and I are mobbed by students and teachers, the conversation free-flowing and fun. Some of the children want pictures with me. How easy it would be to mistake this attention for being directed at me. I am incidental, the conduit through which things pass: the work is the thing, the journalists, alive and dead, are the point, these children are what count.
We take ourselves outside for a walk and a wander and take lots of photos of the extraordinary campus under the threatening sky. Alone, Bartelt and I agree the show was wonderful. We are pleased we can now relax and enjoy the rest of what the KZN Schools Festival has to offer us. Oh, there's the small matter of the lecture we're giving tomorrow morning, obviously, but Bartelt doesn't do preparation for that kind of thing - of course he doesn't. He feels the room on the day - of course he does. I get worried and wonder what on earth will happen: of course *I* do. But for now we can just sit back and enjoy the shows.

Making it up as I go along

Early April

Inveterately stylish as I undeniably am, I put on my full stage make-up over breakfast. Two-and-a-half years ago you'd've regularly found me putting it on in the very busy Pleasance Courtyard in Edinburgh, almost certainly in full view of some of my about-to-be-audience members.

I put my make-up on on the bus, the tube and in the pub. I'll put it on in meetings if I'm off to stand behind a table representing an organisation and I'm running between the two. I'll put it on bit-by-bit and frighten people during that phase where a woman removes all her features, smooths them out almost to vanishing, in order to re-apply them in, roughly, the same places as they were before the whole process began.

On the back of a bus once with my mother and my littlest aunt I started applying make-up and they both complained that it's not nice, that it is, basically, rude to apply my make-up in public. I was astonished. It's not like spitting or fishing your underwear out of your arse, it's not even like blowing your nose, surely? It's just a bit of titivation, but without the nail clippings, under-nail scrapings or follicle-loosenings which seem to be all the rage otherwise. Of course, I carried on.

And one of the reasons I carried on was that I want to subvert the strange idea we have of mystique in our culture: that somehow the bits about actually travelling around in a majority-liquid, ageing, oozing, flaking, gas-creating, blood-pumping, amazing body should be, by women, concealed. I like going out looking as I look - a woman of roughly my age with all bits you'd expect in an able-bodied woman, with no make-up on at all. And if I apply make-up I've no desire to pretend I haven't or to conceal how it's done. I mean, in my case it's often done cack-handedly with my fellow passengers running around picking up eyeshadows and rolling mascaras as they fly to all four corners of the carriage: I am not an oasis of womanly secrets which turn me into a full-on lady. In fact, I was taught my current make-up routine by a friend at drama school back in the days when you could still drink to the tube. We both had huge bottles of Budvar, I sat in a Piccadilly Line seat and she straddled me. The then proceeded to do the full make-up on me, explaining what she was up to as she went. It's more than ten years since I last saw her but I, and casting directors/first dates/members of the good British public owe Mariamne a debt of thanks.

Not to wear make-up is, for me, also a test of myself: how vain, how caught up in the male gaze, how fearful am I of how people will relate to me if I simply look as I look? How much ground have I lost today to capitalism's desire to unnerve me, in this instance, about my appearance enough to make me buy buy buy purported solutions? It's not always easy or straight-forward, but I'm buggered if I am going to be shameful about the way I look with no make-up - it's only my face - no one's got to eat off it or anything.

Breakfast is a success all round and we head for the school. 350 souls is the biggest audience I've ever performed the show to and we arrive during a squall of teenagers, milling, yelling, laughing: being wonderfully themselves, being the huge majority, owning the place. And I look at them, and I think why-oh-why-oh-why are they, almost certainly, already cursed with the idea that they should look like anyone or anything but themselves? They are full of life and potential and are fabulous to behold, as a group and as individuals. Bartelt and I find their energy infectious. What a privileged life we are leading, to be about to share our show with these gorgeous creatures of the future. Maybe it's the coffee Bartelt let me have for breakfast, but I cannot help but love them all as they push past me, a rolling boil of excitement, into the theatre building, barely noticing the middle-aged lady and her woolly-hatted companion.

Breakfasting with Barty

There is a very exciting part of my life concerning Martin M Bartelt. Is it hearing about his years working alongside Pina Bausch, I hear you cry? Or when he talks about touring his dance shows all over the world? ....Maybe. Yeah, well, no, no it's not. It's not that. By far the most exciting part of my time with Bartelt is finding myself on the cusp of breakfasting with him and wondering how on earth it will go.
There is no doubt we have both worked hard with this show, but I feel my still being on the planet, as well as the show itself, of course, to be a collaboration. From my family's acceptance that I was going to make it in the first place, to the endless hospitality we have been offered over the years, via free rehearsal spaces and that house in France where we did the major edit of the show back in 2009. Oh, that house in France. It was in the Frenchest of towns, small, but with two cafes and various independent stores. And French people largely ignoring us. And the town hall where there was a jumble sale....
Two cafes though, two. Possibly the world's most distressing dilemma: where should Barty breakfast? And I'm not even going to go into the fact that it's possible that neither of them will be in the sun at the requisite breakfasting hour.
Bartelt himself is a work of all-knowing, brilliantly idiotic, behaviours, travelling around in the body of a broken lizard with the mentality of a five-year-old or a zen master, depending on... well, mostly depending on the quality of any given day's breakfast. Get it wrong and he will suffer. And when I say he will suffer, I of course, mean I will suffer.
In this little French town we hit the cafe-elect, sometimes together, sometimes apart, both sleeping until we needed to, both working late to suit Bartelt's working hours. He is, after all, the one in constant pain who mostly cannot taste or smell anything, though he maintains he can tell the quality of coffee from its texture. I choose to believe this, it would be to my detriment not to. And he's the one who had had his heart valve replaced just two months previously. In fact, let's add some collaborators to that list of those who have got us here: Jacques and Jean who have nursed this creature, my collaborator, back to... existence, after his operation to replace his heart valve, and the bonus death-on-the-operating table that he got for free as part of the experience. He has a sophisticated heart monitor with him which has to be taken out, together with his heart and astonished body, for a walk of exactly the right kind every day. We talk work as we walk, and life, and about his poor, poor heart, so overwrought that the doctors wondered how he was alive at all. He is, my friends, an enigma wrapped up in a corpus unsound, engulfed every day by a tidal wave of irrational emotion concerning breakfast.
And so it is one day that we find ourselves breakfasting, sharing thoughts about how he is a connoisseur of the coffee with several sugars and the pain au chocolate and I am, essentially, a food disposal unit. I am desperately unrefined. He feeds my his croissant crumbs when he has finished doing his thang - I'm a sucker for Crispy Bits. Obviously I have already had my own croissant, or similar: not my usual breakfast choice, but when with Barty I find I often do as Barty does.
If this were a business consultation we would be bottoming out the problem of why breakfast affects him so much, and it seems to be that he feels that if it goes well, everything will go well, and if not, then not only will it be a bad day, but everything will be a disaster. And it is here, at this moment, outside this French cafe that we discover The Truth: a good chocolate croissant doth not make a good day and a bad cup of coffee doth not a day ruin. We laugh like drains. And we quote ourselves endlessly. I'm sure we exclude many people over the subsequent years and breakfasts with our clever cleverness, but, we have both to admit, we are tremendously funny.
Back in South Africa it is morning, early morning for Bartelt - anything before 9am being the early hours. Outside our room there are horses in the morning mist. It is cold and, what is more, it is time to leave for breakfast. Following breakfast we will have 350 schools students around us for two whole days: I don't know about Bartelt, but I am feeling for our poor chosen-cafe owners - they have no idea of the pressure on them, but they really are going to have to deliver.

Bartelt and me: the most unwanted

Thursday 11 April 2013

I find my way from my place to Martin's couch-surfing haven to to the house of the fellow we are driving to the Grahamstown Foundation KwaZulu-Natal Schools Festival all by myself without getting lost once. I'm hoping I've been rewired in the night, but I realise it's just a stroke of luck, like all those other strokes of luck, some good some bad. I have not had a knock on the head and unearthed the ability to find my way, so I should stop hoping that's the case as it will inevitably lead to my heading off, confidently, in the not too distant future towards a potentially far too distant point in the wrong direction.
What is even more remarkable is that I have already been for breakfast with a friend and colleague of Kate's - South Africans begin their day at leat an hour earlier than the average Brit. And likewise Brits who are in South Africa. This woman came to the show, I'm a big fan of her work, and it turns out she and Kate knew each other a long time. She's lovely to me.

We eat in a cafe near where Kate used to live, full of memories of those terrible two weeks after her murder, when we would come here, if we went anywhere. We talk about all sorts of things, I unburden myself of the same stories of frustration, fear and despair which thinking back on the extra pain the BBC put us through always brings me, and she listens, seemingly not surprised. When we come to say goodbye I want to tell her what it means to me that we have met and talked... but that would be ridiculous. It means a disproportionate amount to me: I am absurd. Why does it matter so much to me? If I told her she'd probably run a mile. We embrace, say goodbye and promise we will stay in touch. As I go to my car I am losing Kate again, I want to find her through this woman, through any woman, frankly, through any person, through an object or an experience, I don't care what and I don't care what I have to do to get it. I would give everything up to get her back. I am going down that rabbit hole again and I have to grip hard to the wheel of the hire car as I go in search of Bartelt in the hope of finding some space in my racing brain.
Bartelt and I, reunited, and our passenger are looking at at least five hours on the road. We do engage our passenger in some chat, but pretty soon he's asleep while we talk on. Bartelt listens patiently to my bizarre, wonderful, exciting, draining, precious start to the day. (Oh, but being with me requires endless patience.) Bartelt and I will probably talk forever about everything and never come to the end. I suppose that's one of the reasons we are so close - I have an endless curiosity about him, his life, how he functions, his fears, hopes, mistakes, doubts, ridiculous certainties (these are legion) and abject terrors (these are legion plus one). And, miraculously, he is endlessly interested in me, my badly formed opinions, built on my lamentable memory, my lamentable memory itself, my anger, my copious stories of loss and loneliness and self-pity, my friends, family, foes and extraordinary former bosses. And my lamentable memory. He laughs at my jokes, defends my behaviour and tells me I am, essentially, worth it. As I often say to him, thanks be to lady luck that we are not attracted to one another.... we would have been married and divorced a few times by now.
Given how well we get on we are rather mystified that the other is single..... well, it's that bit harder for Martin to meet a man than it is for me due to sheer numbers, but one of our regular conversations is how are we so unwantable? (I refer you to the accompanying photos for what is at least part of the answer, surely.)
It is autumn in South Africa, yes, but nothing can justify the stark closing in of the weather as we head south. By the time we reach our destination we have been through wind, rain, fog and, it looks like,.... Wales. Of course it looks like Wales. As I have mentioned before, in the end everything looks like Wales. I could have said it looked like Ecuador, but, in fact, lots of Ecuador simply looks like Wales and there's an end to it.
The school has a very friendlyly staffed gate at which we stop and then we are welcomed onto the hallowed turf.  It's quite a place - like a particular kind of public/private school in the UK with which I am familiar yet, like a dream, this one has been styled by a 17th century Dutch architect. It's a dream - it's so green and schooly and European, even down to the glass fronted wooden cabinets that house the sports teams, play castings, church reading rota. The sight of these cabinets brings me to a lurching halt. So much of my childhood was taken up by looking into them, scouring them for a particular set of dread information that I feel nauseous just looking at them: exam results, violin lesson rotas, excursion information. Excursions. Urgh.
We head off to find our contact and do our tech. Our travelling companion finds his team and quickly we are in a huge, fabulous theatre, doing our little tech. There seem to be a few stressed performers? directors? around, but we have a laugh with the lovely technician and then spend some time getting to know Ingrid who runs the Schools Festivals, all nine of them, for the Grahamstown Foundation. Then there's Sheryl, the person who runs the venue for the school, and Jocelyn, the English/drama teacher. Three mighty, excellent women, plus the volunteers - what joy - and we haven't even met the school students who are attending the Festival yet - we will do that tomorrow when Sometimes I Laugh Like My Sister completes is 2013 South African Tour by being the opening show at the Grahamstown Foundation KZN Schools Festival. On my non-existent life ambitions list I quickly write down opening a massive schools festival and cross it off, like you do when you complete the hoovering and find you'd never put it on your to-do list in the first place.
Bartelt and I are staying off campus, so we get some advice about where to eat in the very small town and go to find our B&B and it looks as good as it does on the website: a free-standing building, beautifully fitted out, with a wall of books to boot. We spend some time in bed because we are COLD. It is freezing. Bartelt, my pet lizard, is not coping well with this sudden change in his fortunes. The heat relieves the constant pain he is in and this damp cold does not bode well. Our hosts have given us some wine, so we have a bit, take pictures of ourselves with the festival programme and then head for a restaurant which is strangely Czech or Polish or similar. The food is great, the welcome is warm and they slap up a meal the like of which we believe a doctor would want for us. I am full of nervous anticipation as we slip into our electric-blanketed beds: tomorrow's audience will be 350-or-so 15-year-olds. What on earth will they make of it? And how can I possibly be nervous again, after 102 shows? I reflect on the fact that I am, maybe, more nervous about the place we think we have found for breakfast in the morning: what if Bartelt doesn't like it? What with the terrible weather, tomorrow's breakfast could make or break these last few days. I turn my light out and dream fitfully of vengeful fried bread humanoids.

Several lashings of transport roulette

Monday 8 April

A great deal of travelling hither and yon is about to occur: my mother and my littlest aunt leave for the UK tonight, Jacques for Switzerland tomorrow and the next day Martin and I will be driving to KwaZulu-Natal, well aware that our journey will be a whole lot more risky than any flight to anywhere from anywhere in the world. 13,802 people died on the Republic's roads in 2011, which is 31.9 per 1,000 of population. In the UK the rate is 2.75 per 1,000, in India it is 18.9. (Source: Wikipedia).

But before the exodusing begins, there is a performance to give. We have been invited by Warren to do the show for his University of Witwartersrand Drama for Life students. Shifting focus to the next show, my mind has filled once more of the wonderful Caroline and her Theatre Arts Admin Collective, for it was she who put us in contact with Warren. Imagining Caroline in her office in Cape Town, I see her face, her clothes, her passion, and I marvel at the sheer number of wonderful people I've met on this journey and how I'm going to miss them. I think again about Martin's friends who have come to the show in Joburg, including a couple who drove from Mozambique to see it, see Martin, then drove back. People are amazing.

Despite my profound efforts to mess it up, we finally find the right area of the enormous university... and after some serious fact-finding and stone-walling are given a parking space. The theatre is amazing - huge, beautiful, a joy to behold and Martin and I run around a bit, marking our territory (proverbially, I hasten to add) while Jacques, for the last time, sets up his camera. As it is with people with whom you have been spending a great deal of time, it is hard to believe that we will deposit him at the airport tomorrow and that will be that.

I have come to believe that this show can be done anywhere, or at least that Martin has given me permission and the ability to do it anywhere, yet when I'm on a large stage in a large auditorium, in fabulous full light, there is no denying that it feels different... easier to me. I feel supported by the context, it feels a more-relaxing-less-distracting watch and listen for the audience, and a large space feels like a great place to be, especially a stage where I can rumble around with my show full of characters, some of them appearing before me, some holed-up inside me.

A Q&A hosted by Warren follows, and there are more questions about the making of the show than usual. We talk about taboo, about technique, and this time, rather than my seeming like the magician, Martin is revered for his skills. This audience is constituted of practitioners and, hopefully, has no illusions about the wings this extraordinary director has given me. We sell a few of the final copies of the script - we will have sold the 40 we managed to get out here. We could have sold more.... but then I'd've had to dump some pants to get them into my rucksack and I'm fond of my pants.

All too soon it's over and we are packing away. We have one more gig left in RSA: just one. And before I know it I am taking Mama and my littlest aunt to the airport. That road that sweeps round the centre of Joburg, the buildings glinting, the terrible Jozi rushhour threatening to wind Mother up beyond her ability to remain cogent for fear of Missing The Flight. When the traffic moves I feel swept along by things, by events, by time itself. I am out of my real world for just a couple of weeks longer and I am starting, finally, to revel in the fact. Maybe a few months late, but at last I am hiding from who I am and what I feel, and all the broken washing machines, missed appointments, suddenly-collapsing-and-dying-of-a-brain-haemmorrhage-in-the-street family friends of my future fade into obscurity; I am here and now, personalityless, futureless, pointless, and it's wonderful.

Saying goodbye is oddly hard - we will all be back in the same hemisphere very soon. But it's this darn airport again - for all it has been done up and expanded over the years, I remember it well and feel as if I have a full cast of my past right behind me, dogging my steps. It is not that Christmas, 2002, when both my aunt and my sister were alive and I took Mum to the airport with my brother and sister and had to wave our tiny Mummy off on her own, which we did not enjoy at all, Tiny Mummy even less so. Things Have Changed and that is all there is to it. I can rail against it or I can just get on the Gautrain. We have abandoned the hire car. This bit of this is over. It is the beginning, or maybe even the middle, of the end. It will be the usual rush to the finish, as I remember all the people I've not seen, things I've not done, places I wanted to visit.

We did manage a trip to the Cradle Of Humankind with my uncle. It was fascinating. I am delighted to be reminded that we all come from here, this very part of this very continent. Maybe that's why I love this country so much. Or maybe I'm just the terrible sentimental, neurotic batbox I always fear I am. It was just Mother, Uncle and me and Uncle treated us to coffees. Coffees in the heat.

This Gautrain is, rightly, a matter of great pride to Joburgers. It travels from the airport to............... It is clean, efficient, safe and reassuringly expensive. I can get it to very close indeed to my friends' place and she picks me up. We talk about our days. It's even a bit normal, arriving at this shiny station in one of the most spangly parts of town, being met by a chum, going to her house. Does it feel like my life or am I pretending it feels like my life? Or am I becoming the itinerant person who only reconginses being on the move?

24 hours later we are back at the airport, having dropped off another hire car and another person. It's goodbye to Jacques. I insist on taking three-way selfies until I get a semi-decent one and then he vanishes through to departures. And here we are, Martin and me, the two of us, on tour again. We pick up a new hire car. We get unforgivably lost for quite a long time, all my fault for imagining I could make it back from the airport just because it's a route I've driven tens of times and I have written it down carefully. I drop him at his home and drive to mine: tomorrow we move on for the second to last time. Tomorrow we are heading to the Midlands.

I hope it's working, I hope you're impressed

Very early April

When I started working as a light entertainment agent's assistant I discovered I had an embarrassing problem. And it continued on into the time when I became an agent, and basically, yea, verily, into my present life: I have a shocking memory. Obviously I cannot remember whether I've written about this before.... so I'll do so now just in case and then probably again in a few blogs' time. Repeat until fade.

The discovery went like this: I would go out to reception and recognise someone waiting there. I would then get up on my tip toes and lean over the reception desk in order to have as private as possible a conversation with Norma, the receptionist, and I would ask her whether the person was a friend/colleague/drinking buddy/sexual conquest* of mine or if they were famous. Norma, thank the universe, was an expert in my drinking buddies and family members, so would be able to say 'Corrie', 'News At Ten' or 'it's your mother'.

There were so many things about being an agent which brought home to me how little I ever wanted to have any kind profile or celebrity, far too many to name here, but one of them was that terrible feeling of someone looking at me as if they know me and my having to respond as if they do, just in case they do, because I have too poor a memory to be able to work out whether they are Peter, my plumber of fifteen years, or Beyonce (she's a singer-songwriter-megastar). I have too few fingers and toes to be able to enumerate the number of times I have grinned broadly at someone, as I gambol towards them confidently, been on the verge of saying hello while they look back, 87% friendly, 13% unsure, and just as I'm about to say something I realise they're off the Fast Show or similar, and I have to convert the word I was about to utter into one of the noises that goes with the end of a cold whilst trying not to look as if I was about to break my stride. This manoeuvre should really be on my CV: I am genius at it.

And so there I am at the beginning of the last POPArt show milling amongst the audience before they are seated, which is actually the beginning of the show (see what we did there?) and I spot someone I know. Or do I? She is very familiar, a slim, attractive, dark-haired woman with lovely eyes. Have I slept with her?** Is she a friend of Kate's? Why isn't Norma here for me to ask? If she were here she'd whisper, 'no, she's a famous broadcast journalist'. Our eyes meet. She smiles at me. Does she know me, have we met? And suddenly we are talking to one another and embracing as if we are old friends and I know who she is: she is a correspondent for the BBC whose work I have followed for years.... basically I'm simply a fan: we have never met before. I feel about her and her work maybe how you feel about Nigel Slater or Kate Moss or One Direction. Unless you hate them, then I feel the opposite feeling.

I have met so many of my heroes through Kate, or rather through Kate's absence, and we present ourselves to one another, raw side out, for me the loss so fresh I want to cry. For them? Who knows.

She has come here today with the journalist for whom Paulina now works part-time... and with Paulina herself. Paulina is looking good. It is lovely to have her here, this most important of Kate's mates, who comforted my sister through so many difficult times, kept her company when she was so alone, the person who kept the house running when Kate died as we dribbled around, incapable, one of the strong team of women insistent on washing up during the period of the funeral, the obvious and perfect choice for the end of the show. I forget how short she is - she's shorter than my mother. She tells me this is her first trip to see a play. That's pretty hardcore: the first show she is seeing in her life is a show about the effect of the murder of her good friend had on that friend's sister. I tell her it's not like all theatre, that people have said it's different. I wonder whether she is nervous. She is not nervous. Of course she's not. This woman, who can withstand the hurricane of injustice, who can laugh as she tells the story of her life and break my heart.... of course she's not nervous.

Swiftly we are into the after-show questions, hosted by one of the amazing women who run POPArt. The BBC correspondent asks me a great question - I am being very forthright about the BBC and I get to explain how I do not want the utter sanitization of journalism, that people will always have to risk and sometimes their numbers will come up, but how those decisions are made is important. I feel as if this BBC correspondent I do not know but respect massively has given me the chance to explain myself even better.... she feels like a friend***. I know the danger of letting that feeling in - she is not my friend, she is Kate's, but just for a few delicious minutes I enjoy the fantasy. And I point out to Bartelt that, unlike a few other journalists, she is not behaving as if we do not have the right to speak because we are not journalists ourselves.

Post-show I get a picture taken with Paulina. I can't believe we have less than two weeks left in the country. I do not want to think about leaving..... so I don't.

*Just trying to add some showbiz snazz to the image you have of me. Hope it's working, hope you're impressed.
** Obviously not, but I'm just trying to add some credibility to my sex-life. Hope it's working, hope you're impressed.
*** She is not my friend, but I'm just trying to make it look like someone like that would like me. Hope it's working, hope you're impressed.

You may as well ask whether Thomas Aquinas would have enjoyed the dodgems

There is a moment, during the 100th show, early on, where I hear the laughter of my seven-year-old cousin ring out when the rest of the audience remains silent. There is a moment, later on, where I can see and hear him shuffling around. Is he lying down? Could be. Both of these things is individually delightful to me.
You will find some actors blaming the audience for not getting a show, being too raucous, only laughing internally. I understand the emotional response, after all, we feel what we feel, but I do often wonder why people cannot check themselves, stop before they say anything destructive after a show. One of the frustrations, and certainly a major joy, of being an actor, is that it's pretty hard to tell how well you're doing. Yes, there are reviews, or if it's a funny show laughter feels good, or you can be delighted because you managed not to cause any kind of technical or business (business being, say, a complicated custard pie scene in a panto) disaster. But the reviewer's companion may have hated your performance or people might have felt tricked into laughing by all-jokes-and-no-substance theatre, or you got through the very complicated fight scene but nobody believes it was really a fight.
As for me, I do not pretend to understand much about what an audience feels. I've said it before, and, being me, I'll say it again, a lot: how on earth can an actor 'know' in the way that they seem to, that a show has gone a particular way? Let alone how their own part in it went? If you're playing Hamlet or Winne in Happy Days or Rebecca in Sometimes I Laugh Like My Sister I can see the temptation of believing that there is a direct correlation between your performance and what you feel about it, but it is only what you feel. It is allowed, but it does not give you any definitive information.
So, I might think that my littlest cousin's fidgeting can be interpreted, I might even be able to blame myself in some way, for encouraging such a young chap to see the show, for not making it clear he would not like it. But I decided long ago not to do that to myself and not to do it to my audiences. And time and again I am reminded that it is the right thing to do. They can react how they want and at the end of the night I walk away and get on with the (mostly more important) parts of my life. It is only acting: nobody dies... and if they do you really should think about a career change.
There is a carnival feel after this show for me - there are so many key characters in the audience and they seem to have enjoyed it, and, given that I am the only practicing actor in my extended family, I choose to believe them when they tell me they got through it okay, or anything above that, enjoyment-wise. My littlest cousin tells me he has questions and we agree that I'll answer them the next day, for me this is because we are cracking open the Cape bubbly we have carefully brought or, should I say, arduously not drunk during the weeks since we left Cape Town. We take a picture of the family group, my mother exudes relief and, maybe, pride - it's hard to tell with my mum, and Martin seems satisfied enough.
People are wont to ask me what Kate would think of the show. I want always to point out that there is only a show because she's dead, but I have to resist. I rarely think of what Kate would want or feel, she is so dead to me, though I often long so hard for her counsel, her encouragement, her shoulders, either one of them, that it freezes my tears, stops my breath, winds me like a statue at a busy station as the world rushes past. But looking at this night, full of my cousins and uncle and close friends I reflect that for once I have a sense that Kate would be pleased about this, though annoyed to miss out on it. For once, wondering what my sister would think about something, is not, to quote my inestimable brother, like pondering whether Thomas Aquinas would have enjoyed the dodgems.