Bob Moran | Artpocalypse, Dingwalls, Camden, UK. 15 March 2024 | REVIEW
Bob's show hits the centre of London counter-culture, the renowned Dingwalls in Camden.
Another sell-out, packed-out theatre. This time in the well-known anarchistic haunt of Dingwalls, Camden. Set on the banks of the Camden Canal near Hawley Lock, Dingwalls occupies a distinguished position overlooking the famous Camden Market and marks the epicentre of the, still kind of Punk Rock, Camden High Street. In an old Victorian brick store of some kind or other, downstairs in the windowless auditorium, having hosted countless Punk bands during the mid-late seventies, through to the likes of R.E.M., Blondie and Etta James, the stage is set for Art-pocalypse, the captivating show straight from the heart and mind of the one and only Bob Moran.
Just before the doors open, around 6:45pm, there’s a flurry of activity with Bob making some final preparations on stage, live-band tuning up and the AV crew busily buzzing about. There’s a sense of anticipation, though guests have barely started arriving for the doors to open at 7:00pm. The door staff are prepped with entry gifts of red and blue jelly beans, hinting subtly at the tone of the show to follow. Some of Bob’s most famous characters are on hand to greet patrons when they arrive and induct them into the world of Art-pocalypse. You could call it ‘interactive’ I suppose, though it feels more like being drawn into something that’s about to occur rather than participating directly.
Almost to the second, the clock strikes 7pm and the doors are opened. The crowd quickly emerges deep of the dark, Dickensian streets of Camden and things are underway. The audience begins its procession through the doors and into the auditorium, stopping of course to collect sweet samples (take the odd photo) and, I suspect pocket what are to become keepsakes for later. Programmes, t-shirts, character masks and prints are also available at the small ‘merch’ stand tucked behind the entrance desk.
Theres a vibe to the procession. Anticipation and excitement. Much to my dismay some of the crowd aren’t sure of the meaning or symbology behind the red and blue jelly beans on offer… Most, however, are well aware and seemed charmed that this is a theme woven into the event. Wry smiles, quiet conversations and smirks are typical, the majority picking up what’s being put down. Luckily for them, there’s much more to come. Choosing the red pill here isn’t really optional - It’s obvious we are about to be taken on a journey and equally obvious that the audience can’t wait to climb aboard…
Right on time, Bob takes the stage to rapturous applause and we begin the immersive journey through the last 4 years in Bob’s eyes.
The audience is given a guided tour through Bob’s early days as a cartoonist trying to catch a break and get into one of the nation’s broadsheets. The narrative and accompanying sketches and works provide an intimate insight into the art of the cartoon, composition, form and how Bob satirises both the well-known faces of the news cycle and invents his own onto the frame to accompany them. We’re provided a glimpse into the creative process, though without giving away perhaps the biggest mystery of all - how Bob manages to conjure them into existence. It’s nothing short of a divine gift and an absolute treat to observe.
Bobs narration begins light, calm and easy, walking through Bob’s early career, but it’s not long before the realities and challenges of that time, that era, are brought to the fore.
Bob talks about his work at the Daily Telegraph as COVID kicked off; the building atmosphere and his utter bewilderment at the prevailing attitude of his peers in media when the COVID information war began. It’s a behind-the-scenes view of life in the media at that time. We’re guided through the meetings, the conversations and the edicts. All pointing to the reluctance by those in our ‘news’ institutions, even those in the satirical sphere charged with poking fun and pointing out the absurdity of the absurd, to countenance anything….ANYTHING going against the state.
As he walks us through that time in his life, it’s the talk of how it affected his family and children which hits hardest. I can see audience members wiping away tears as they weep at the horrors, not just experienced by Bobs nearest and dearest, but of course, those inflicted in their own lives…and on us all.
The tone is notably more sombre now and Bob himself seems moved recounting conversations with his employer, the school teachers and medics. Bob has a way of weaving this all together, not as a tale about himself but as a demonstration of what was done to society at large. The collective lamentation of this time is palpable from the floor.
The show is peppered throughout with Bobs iconic artworks. Each underpinning the narrative and stark truth of that time. It’s a harsh reminder of a time when actual fines were being handed out for leaving one’s own home or sitting on a park bench or, heaven forbid, not wearing ‘your’ mask. Each of Bobs pieces is brought to life afresh with the running narrative taking us through the COVID chronology, step by step. Obvious absurdities are exposed and lingered on, as are the resulting artworks. It’s impossible not to be struck by Bobs genius. His ability to boil down any perceived complexities and distil them into a clear, coherent and compelling argument is surely what sets Bob apart as not just one of the greatest artists of our time but surely one of the greatest minds. Bob is in many ways the everyman. We see ourselves in his cartoons and in his stories. They’re largely stories of battle, but they are also battles many of us have fought and endured. He brings our innermost thoughts and feelings together, no matter how scattered, into brilliant technicolour glory.
The pace with which the show moves is smooth and effective. Never giving enough time to switch off, or worse, fall into boredom. This is all killer, no filler.
Progressing through the remainder of the show, which keeps the audience fluctuating between belly laughs and ugly cries, Bob demonstrates another of his many talents, which I won’t give away and spoil things. Suffice to say it’s an upbeat and hopeful end to our journey. One which in many respects, we’ve all been on since 2020. Passengers by fate or chance on the crazy-train…the ever-evolving new normal.
I highly recommend anyone to see this show when they can, in-fact I would call it essential. We’re provided a rare and intimate insight into Bob’s life, his humanity and his gifts, close-up. Gifts which we should all be grateful to have been witness to.
For the awake among us it’ll provide much-needed catharsis for the trauma, a healing of sorts. For others, it’s sure to raise all the right questions…the ones with uncomfortable facts and even less comfortable answers.
Seeds of common sense are being sewn in this exquisite show…let’s hope they bear fruit.
View Bobs work and purchase prints and originals here
WERE YOU THERE IN THE AUDIENCE?
MAYBE I TOOK YOUR PICTURE…?
👉📸 VIEW THE PHOTO GALLERY FROM ART-POCALYPSE HERE 📸 👈
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*All images © Kerry Murray Photography 2024
Congrats on what sounds like a spectacular evening!
Great photos Kerry that really capture what must have been an amazing evening. I saw Bob’s show at the Bloomsbury theatre but wasn’t able to make it to Dingwalls. I bet the after party was a riot. A fantastic script by Tania Edwards.