West End musicals or opera. this is probably astonishing. It‘s written by people who have worked in comedy and know what is really funny. instead of what someone wrongly imagines as funny.‘
Set in the dying days of the The Jerry Springer Show. the first act features three sets of guests with guilty secrets. Interspcrsed are solos in which they reveal their real secrets (the man who says he likes to wear diapers really likes shitting his pants). Act two is set inside the mind of Jerry Springer as he descends into hell. The two men have used the conventions of the TV programme to infonn the opera. “In Jerry Springer.‘ says bee. ‘he says: “What's your problem then?" and you’re straight into where you want to be. The programme has really harsh edits. That means you dispense with intros and outros or having to have things that are in the same key thrown together.‘
The idea first came to Thomas as he watched The Jerry Springer Show and saw lots of fat people shouting at each other incoherently: just like in opera. ‘Opera is an extreme form.‘ he says. ‘So if you're going to write an opera. you may as well use an extreme subject. If the guests are screaming at each other — ‘You pervert. you sicko. you motherfucker" - the music can go against that: the subtext can come through.‘
The two had a meeting with Springer himself (‘1 think of him as Saint Mephistopheles.‘ says Thomas). who gave his tacit agreement to the project and may even turn up in person when he appears at the Edinburgh Television Festival. Are there any legal complications I ask? ‘lir . . .‘ says Thomas. uncharacteristically panicked. ‘I can‘t really say.‘
So why does he think it's taking off in such a big way‘.’ ‘It genuinely is pretty funny.. he says. 'lt's tight. It‘s not boring. All the things you associate with opera. it isn‘t. But musically. we've got fantastic singers who have to be really good because its complex stuff. I get a kick from the fact that people might be laughing over some serious. complex music.‘
Jerry Springer: The Opera, Assembly Rooms, 2-26 Aug (not 5, 13 or 20), 2.35pm, £12.50—£14.50.
Celtic Nights Too
during this year's Festival — a celebration in the best of celtic. world and Americana music.
We welcome back: Aly Bain and Phil Cunningham, The McCalmans, Dougie Maclean, Blazin’ Fiddles, Deaf Shepherd and the Kate Rusby Band, and we give a great qh welcome to _ Sunhoney, Nusa, Back of the Moon, Fine Friday and many more. including rare appearances by The Cauld Blast Orchestra, The Alison Brown Quartet, Chip Taylor and Spain's superb Radio Tarifa.
It’s gonnae rock!
WIN A NIGt—ff ONTHE TOWN
This year's Edinburgh International Fllll‘ F‘.)Si|\.’£il opens vault! Morvem Callar. 1: stunning adaptation of Alan \/=/;imor's (.ult mom! i); mam; Shhillfll‘ (hr/lo: l ,4in Ramsay. F’)ll()‘-,’,’lllg 1hr:- story of Mame-m after her tin/linoiiri's suicide, at}. ;: ’,’)l'.‘t,‘3'l" 1; Stor/ winch is Z.l(;(,(')lit[){jlli()(l by a fantastic sownrltrack on V‘Varp records ‘,'.’lill track: L, Aphox TWIN. Can. L00 Ham/wood {and Barn/(gust.
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For more information on the festival, log on to wWw.edfilmfest.org.uk r/\.~'/\.v'.'.‘/.Iéirt)"f;cr)r’lfs.(:(>ii:
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Offer Open to those ‘18 years (MU 0,1,4. Thu-n.- if‘, or, cash £15l!’;"!7éli".*‘?
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1~8 Aug 2001) THE LIST FESTIVAL GUIDE 39