"Be not afeard; the isle is full of noises..."

from New Hampshire's Haunted North, Coös County, In The Shadow of the White mountains, Brian Kennedy spent His youth in a long and lonely list of seemingly random occupations – as a census taker, a post-hole digger, a dishwasher, a student, a landscaper, A Stagehand, a bartender, a carpenter’s assistant, a materials technician, A Playwright, a stock room clerk, a publicity man, a naturalist, An actor, a bibliographer, a guitar player, a philosophy teacher, and once even an extra on Japanese television. Now, After A Two Year Sabbatical in South Alabama, he's off to Guthrie, Oklahoma To Start a circus - cathedral circus - a Pilgrim Ensemble conjuring play-as-work and work-as-play for the prophetic renewal of American culture.  

 

“In the work of each performer there is an attempt to create oneself, to make a new man out of what is inherited and what is imagined; each individual attempt implies an ideal community, never easy to define, where the new man would be at home, where his work could communicate easily and deeply, where the members of that ideal community would speak as clearly to the artist as he does to them.
The audiences that gather around rock ’n’ rollers are as close to that ideal community as anyone gets.  The real drama of a performer’s career comes when the ideal that one can hear in the music and the audience that the artist really attracts begin to affect each other.  No artist can predict, let alone control, what an audience will make of his images; yet no rock ’n’ roller can exist without a relationship with an audience, whether it is the imaginary audience one begins with or the all-too-real confusion of the audience one wins.”
- Greil Marcus