Jem Rolls

No, it's not.

In my backstage poem, the author...

It's going to have an old-fashioned, artsy-fancy fit of peak, join the writer's block and go on strike.

And here, the script demands ten seconds of defiance... ...followed by five seconds of hopelessness.

Well, I'm glad that's all over.

Aren't you?

The end.

Well, I do it on stages, and really, I mean, you want to make it work.

You want to get your ideas over.

So the idea of just standing there, I think, is very limited.

I think the idea of standing over a book is even more limited, and it doesn't really get... And there are so many more things that you can do in terms of theatre, in terms of movement.

I mean, I dance and sing, and I can't dance and I can't sing.

But I can get away with it as long as I don't look like I can believe I can dance and sing.

You know, my experiences aren't the same as everyone else's.

I've got a groove in my forehead, banging on, in the jazz bar, banging my forehead.

And also, I've seen rainbows.

I've talked to other performers.

No other performers have seen rainbows.

I've created, I've been general one-man rainbow maker, one-man tropical storm.

Because I've been so ridiculously serious.