[2013064] The Effervescent Shaggy Doo Beats
Charles Crompton @ La Bohème
10:30pm, Tue 26 Feb 2013
Shaggy Doo Beats is another in the long list of events that I’ve Shortlisted – but never actually seen – for as long as I can recall seeing the name; the idea of beat poetry in a cabaret setting has great appeal to me, but I’ve always chickened out of seeing him… the short runs, the out-of-the-way-venues, and a touch of trepidation all contributed to my avoidance.
But I’ve tried to make a concerted effort to see repeat neglected Shortlisters this year, and so I dragged myself to La Bohème to find a… well, reserved crowd. Not packed to the gills, just a comfortable size… and quiet.
I must admit to being a little taken aback – but delighted – to see The Jazzcateers (Chris Soole as Musical Director and saxophone, Rob Eyers on drums, and Ben Fuller on double bass) open up the show (and provide musical backing); it’s the second time I’d seen Soole this Fringe (after The New Cabal), and The Jazzcateers pumped out some deep grooves and unexpected swing (and was that a bit of Bronski Beat that they covered?).
A video screen started playing clips of Charles Crompton interviewing various luminaries (including Raymond J. Bartholomeuz) around various Artist Bars of bygone Festivals and Fringes (was that the Red Square of 1996?); and when the band kicked in a rendition of the Scooby Doo Theme, Crompton alighted the stage in a silver space-suit with exaggerated flares (replete with yellow & brown trim), and Shaggy Doo Beats B.O.P. (Bachelor of Poetry) had arrived: a raconteur, a beat poet, a man of questionable fashion sense. That hat, whilst undoubtedly iconic, is a shocker.
With The Jazzcateers providing a platform for his performance, Shaggy Doo Beats’ poetry can veer between well-contructed, comfortable, comedic poems, to stream-of-consciousness so-weird-it’s-funny jumbles; the shorter pieces are fantastic, punchy enough to make their point and escape, with the longer poems occasionally outstaying their welcome. But Crompton is clearly a clever wordsmith, and his works (orated from a book) are accented by the musical backing; together, they form a very satisfying pairing.
For all the exaggerated oddballness of the Shaggy Doo Beats character, The Effervescent Shaggy Doo Beats delivered a surprisingly cool torrent of beat-inspired poetry. That it had an equally cool swing-jazz backing was a massive bonus; this was a bloody fun (and crazy cool) performance that reminded me that sometimes I should see more of those oddball shows that occasionally scare me away.