Chris Goode

1. Chris Goode Wound Man and Shirley

2. Previous Solo Work Chris Goode God/Head (2013)Draws on Chris’s own recent experiences of spiritual turmoil following a long personal history of comfortable atheism. The familiar ‘crisis of faith’ narrative is turned on its head as Chris is compelled to wonder: what if there really is a God after all (ChrisGoodeandCompany, Online 2013)? Hippo World Guest Book (2007)In a virtuosic and uniquely compelling performance, Chris Goode simply presents an hour-long recital of the edited highlights of the guest book over the six years of its existence: a sadly familiar trajectory of naïve optimism undermined by arguments, thwarted by abuse, and finally obliterated by spam(ChrisGoodeandCompany, Online 2013). Keep Breathing (2011) Keep Breathing started from an invitation made via the internet to individuals all over the world, to speak to an audience of strangers. They could say anything, on any topic, provided it could be spoken in one breath. Through their offerings, a network gradually became revealed, connecting performer, authors and audience, locally and globally(ChrisGoodeandCompany, Online 2013).

3. Wound Man and Shirley • First performed in 2009, then a revised production premiered in 2011. • Shirley is a 14 year-old boy with a girl’s name who becomes a sidekick to • someone called Wound Man. Wound man is an “unconventional • superhero, sprung from the pages of a medieval medical text book, with • an alarming assortment of Weapons sticking out from every part of his • body” (ChrisGoodeandCompany 2013, Online). • Shirley lost his older brother, Tony, a year before this story takes place. • Shirley is in love with a boy with a ‘cooler’, weirder name: Subway. • This story follows the relationship of Wound Man and Shirley. “There is something so unguarded, almost childlike, about this show that you can’t help but fall in love with it” (The Guardian) “It was funny, lovely, tingle inducing, moving, nostalgic, unique and brave. Happy and sad at the same time” (Daniel Kitson)

4. “I do just want to mention in passing that November also saw the first amateur staging of my The Adventures of Wound Man and Shirley -- which I was particularly pleased about because it was a secondary school production. Sadly I wasn't able to go and see the Year 11's at Nunnery Wood High School do their thing, but their teacher...was kind enough to send me a programme and some photographs and, I have to say, it looks bloody great. They seem to have had a good time doing it: and, anyway, it's just incredible to me that it happened at all. I mean, at base, Wound Man and Shirley is about a love relationship between a gay fourteen-year-old boy and an eccentric middle-aged man with a predilection for teenagers and snazzy pants; for that to be allowed within ten miles of a school is, to someone like me who spent his own teenage years in the toxic shade of Section 28, completely mindblowing. I couldn't be more proud of the whole darn thing” (Chris’ Blog, 2013). Section 28: local authorities "shall not intentionally promotehomosexuality or publish material with the intention of promoting homosexuality" or "promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship“-This was only repealed in 2003 in England-

5. Storytelling • Similar to Tim Crouch, Chris Goode presenting us with a story. A solo-performance concentrated on telling a story. • http://vimeo.com/37559590 • His non-trained performance has an air of authenticity, even though we know that we are watching a performance. There is no artsy pretence about the performance. It’s honest. We are aware we are watching Chris, but it is still captivating. • Similar to Spoonface Steinberg by Lee Hall. “Storytelling at its finest” (Scotland on Sunday) “A tender tale perfectly told” (The Guardian)

6. The set is minimal in Wound Man. • A table, a chair and a lamp. • This is ideal for Fringe venues where it was first preformed and therefore has the capability to tour easily. With its small, intimate setting it allows a closer and more meaningful relationship with the audience – almost as though we are invited into the bedroom of Shirley and we are being told this account on a one-to-one basis. • - Adds a sense of authenticity. A story being told without unnecessary grandeur.

7. The text • All the of the text is mediated through Chris. Wound Man, Shirley and all the other characters are presented through him. He is simply re-animating the story, almost in a ‘he said, she said’ manner. • We are welcomed to “settle back and I’ll tell you the whole thing” (p. 14). • Structure • Repetitions • Ritual • Stars • Colours • Sounds/Silence • Mixes the ‘real’ with the fantastical “Goode's script mixes the suburban and the surreal without blinking, and the piece above all reminds us that the stars may one day shine again if we can just keep going, putting one foot in front of the other for as long as it takes” (The Guardian, Online)

8. The text #2 • Double-ended frame narrative: • The opening – • “Hello. Thanks for being here. • The story I want to tell you this evening is kind of a love story” (p. 13). • The end- • “What he doesn’t know is, just the other side of those limits, that’s where we all are, me and all of you, all watching him sleep. The lights on his face, the dark, the light. • Wherever he’s going, he’ll get there” (p. 64).