Sylvester McCoyGuest
Abbie FosterGuestWell, where we got up to was, uh, we, we hadn't even really started talking about, um, anything other than, we did Ferrets and Ken Campbell, uh, that's where we got up to.
And I was just thinking about, were you doing other things as well during the Ken Campbell Roadshow, or was that your sort of like...
And how long were you doing it? Was that your sort of three-year training and then you did other things?

Um, he went in with a posh accent and come out with a working class accent.

Um, um, a lot of critics think that I still don't know anything, but anyway, I know nothing.

And, and it, um, uh, he taught me everything I g- I knew, um, uh, which made me very dangerous when I read the ro- left the Roadshow because, uh, he was, you know, it was all a bit kind of wild.

And, um, the, the principal thing was you grab the audience, whatever you do, whoever's on the stage, all of you, you grab the audience, you bring them to you.

And that can be a bit upstaging, as I discovered when I just started to do so-called, inverted commas, "legitimate theater." Stories to be told-

So yeah, so, um, I, I was w- I was with the Roadshow about to about to '72.

The, the first, the first part of it was, um, uh, medieval, no, was, um, it was, uh, the one with Bob Hoskins and Dave and Jane.

Um, and then Bob left, and then Dave and Jane left, and then we did a circus in between times, and then they all left after the circus.

And Ken and I discussed what to do next, and I said we should use the circus skills we gleaned and gained.

And so we did, and we created An Evening with Sylvester Mc- Sylvest McCoy, the Human Bomb.

And then we toured that, and it became quite successful all over the world, uh, all over Europe really.
Well, where we got up to was, uh, we, we hadn't even really started talking about, um, anything other than, we did Ferrets and Ken Campbell, uh, that's where we got up to.
And I was just thinking about, were you doing other things as well during the Ken Campbell Roadshow, or was that your sort of like...
And how long were you doing it? Was that your sort of three-year training and then you did other things?

Um, he went in with a posh accent and come out with a working class accent.

Um, um, a lot of critics think that I still don't know anything, but anyway, I know nothing.

And, and it, um, uh, he taught me everything I g- I knew, um, uh, which made me very dangerous when I read the ro- left the Roadshow because, uh, he was, you know, it was all a bit kind of wild.

And, um, the, the principal thing was you grab the audience, whatever you do, whoever's on the stage, all of you, you grab the audience, you bring them to you.

And that can be a bit upstaging, as I discovered when I just started to do so-called, inverted commas, "legitimate theater." Stories to be told-

So yeah, so, um, I, I was w- I was with the Roadshow about to about to '72.

The, the first, the first part of it was, um, uh, medieval, no, was, um, it was, uh, the one with Bob Hoskins and Dave and Jane.

Um, and then Bob left, and then Dave and Jane left, and then we did a circus in between times, and then they all left after the circus.

And Ken and I discussed what to do next, and I said we should use the circus skills we gleaned and gained.

And so we did, and we created An Evening with Sylvester Mc- Sylvest McCoy, the Human Bomb.

And then we toured that, and it became quite successful all over the world, uh, all over Europe really.
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