and that was, in the end, the thing that kept me on music was my brother going, oh, come and work out the intro to light my fire , because, you know, we d listen and i would do the keyboard bits. do you regard yourself first and foremost as a musician or a comedian? 0h, certainly not a comedian. i mean, i would consider myself a musician and then probably a writer in the broader sense and then an actor and then a comedian, probably, now. now? now. while i was a comedian, i would have happily called myself a comedian. but even during that time, i tended not to call myself a comedian. so you ve passed through the comic phase, then? well, really, i got known as a comedian, but i was always a cabaret artist who was just pretty funny between songs. the best thing i ever did was stop calling myself a cabaret artist and start calling myself a comedian, and everything went bang. cheering the first choice that you ve made for this cultural life is being asked to write a musical version of love
very well and neither did he, but he was much more interested in music than i was. he had all the australian bands on his wall and would, because he was learning chords, he could teach himself songs and that was, in the end, the thing that kept me on music was . my brother going, oh, come and work out the intro to light my fire , because, you know, we d listen and i would do the keyboard bits. do you regard yourself first and foremost as a musician or a comedian? 0h, certainly not a comedian. i mean, i would consider myself a musician and then probably a writer in the broader sense and then an actor and then a comedian, probably, now. now? now. while i was a comedian, i would have happily called myself a comedian. but even during that time, i tended not to call myself a comedian. so you ve passed through the comic phase, then? well, really, i got known as a comedian, but i was always a cabaret artist who was just pretty funny between songs. the best thing i ever did was stop calling m
the thing that kept me on music was . my brother going, oh, come and work out the intro to light my fire , because, you know, we d listen and i would do the keyboard bits. do you regard yourself first and foremost as a musician or a comedian? 0h, certainly not a comedian. i mean, i would consider myself a musician and then probably a writer in the broader sense and then an actor and then a comedian, probably, now. now? now. while i was a comedian, i would have happily called myself a comedian. but even during that time, i tended not to call myself a comedian. so you ve passed through the comic phase, then? well, really, i got known as a comedian, but i was always a cabaret artist who was just pretty funny between songs. the best thing i ever did was stop calling myself a cabaret artist and start calling myself a comedian, and everything went bang. cheering the first choice that you ve made for this cultural life is being asked to write a musical version of love s labour s lost when yo
version of love s labour s lost when you were still a teenager. yeah. what was this for? well, i was very lucky. i went to a school that had a drama department. in fact, it had a sort of adjunct theatre company called midnight youth theatre company. and through high school, i always did the school plays. i never got the lead roles, but i kind of was into it. butjenny davis, who remains a very good friend of mine, who s a theatre maker from perth of my parents generation, sort of wrote me a note one day and said, i m doing this version of love s labour s lost that has songs in it that someone else had written some years before. but we think the songs need to be rewritten, would you write the songs for it? we have a $500 budget, lovejenny. and it was on a card. you know, this is 1994. and i sort of thought, i don t know if i can do that, but if she s asking me to, she must think i can. but you were, what, 16? no, it was the year i turned 18. so i was 17 and a half.
version of love s labour s lost when you were still a teenager. yeah. what was this for? well, i was very lucky. i went to a school that had a drama department. in fact, it had a sort of adjunct theatre company called midnight youth theatre company. and through high school, i always did the school plays. i never got the lead roles, but i kind of was into it. butjenny davis, who remains a very good friend of mine, who s a theatre maker from perth of my parents generation, sort of wrote me a note one day and said, i m doing this version of love s labour s lost that has songs in it that someone else had written some years before. but we think the songs need to be rewritten, would you write the songs for it? we have a $500 budget, lovejenny. and it was on a card. you know, this is 1994. and i sort of thought, i don t know if i can do that, but if she s asking me to, she must think i can. but you were, what, 16?