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"Faithfull, Marianne."
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The awfulness of my PREVIOUS LIFE is no longer the point
\"Yes, but I've never received the respect I deserved for that,\" she harrumphs. \"It's because of the drugs, I'm sure. It's all anybody can focus on, even today. I wish I'd never done them now, you know? I really do...\" This latest critique, she explains, was on \"some froggy website\", and was unusual because she is usually revered in France (where she lives). She insists it was also unjust because Horses and High Heels is a good record. She's right; it is. It's a mixture of idiosyncratic cover versions - \"Love Song\", made famous in the 1970s by Elton John, Jackie Lomax's 1972 soul revue \"No Reason\", and a positively Shakespearean reading of the Shangri-Las' 1962 classic \"Past, Present and Future\" - alongside original compositions, and each sung in a voice a world away from the vocal that, back in 1965, first made her famous. If she was Petula Clark-ish then, these days she is positively Tom Waits. But it does suit her. \"I'm sure I'll disappoint many people by saying that my life isn't very exciting any more,\" she says. \"I live alone [in Paris], I don't party very much, and I go to bed at a sensible time. But then it's good for me, just as,\" she adds, \"being able to live in the present, rather than where everybody else wants me to live: in the past.\"
Newspaper Article
Midrand Shakespeare Festival. Julius Caesar, Hamlet and Twelfth Night
Recalling the 1960s Roundhouse production (Nicol Williamson played Hamlet) with Marianne Faithful's Ophelia romping on the bed with Laertes, we decided to follow an alternate tradition: a sophisticated young woman of the world who thoroughly enjoyed Hamlet's sexual allusions. Inspired by the great encounter between Patrick Stewart and Derek Jacobi in the BBC television production, Claudius advanced threateningly the length of the stage towards Hamlet, who bowed his head and covered his face with his hands, as if intimidated. Given that he is a Puritan and not a party animal, no one seemed to mind too much, and the audience were more absorbed by the phenomenon of teachers acting than the sociolinguistic implications of the scenes anyway.
Journal Article
