Mata Hari wanted to know whether I had something... more substantial for her.

Night-time in Koln

 

 

I'm just back from a return visit to Koln where we spent two days re-working the Sherlock Musical (https://thesherlockmusical.com/)... 

 

And then on Wednesday night I went to the Urania Theatre (http://www.uraniatheater.de/) to watch another performance. I emerged wondering why we are trying to change it at all. The house was packed, the audience seemed to love it; the cast appear to be having fun; there is a genuinely feel-good atmosphere about the place.

 

The answer, of course, lies in the constant search for improvements, and our efforts to make the very best of a show that certainly starts well - vital, brisk, somewhat intriguing - but isn't yet water-tight. Dare I say it, we are reaching for the stars; we wish to create a show that will wow them in Hamburg, Berlin, London.... who knows where else?

 

So what I thought was a simple enough job when I started back in June - to write a story that would be transformed into a musical show - now has echoes of Koln's famous Dom (above): it took an age to complete (seven centuries, if truth be told)and is constantly being renovated.

 

Still, there are compensations. Backstage after the show I spoke with our rather wonderful Mata Hari, Kim Morales (http://www.kim-morales.com/) and complained that there were still scenes to re-write. She gave me a radiant smile and said, 'Maybe a little more for me then?'

Suddenly I felt the urge to get back to my keyboard.