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Beginning with the epic Bill-Hicks-inspired ‘The Ride’, There Will Be No Intermission sees Palmer revealing her heart in total, turning the coals of fraught experience into musical diamonds. Palmer wrote ‘The Ride’ with the help of her patrons, puzzle-piecing their personal comments about fear and grief into a sonic emotional snapshot of her community. Themes of death and reproduction recur throughout, including ‘A Mother’s Confession,’ a funny, honest, slice-of-life ramble detailing Palmer’s failings as a new mother, and “Machete”, written in tribute to her best friend, Anthony (for whom her son was named), following his untimely passing from cancer. “Voicemail for Jill” chronicles a different sort of death as Palmer reaches out to a friend on her way to an abortion clinic.
Somber yet exultant, There Will Be No Intermission presents still more dimensions to Amanda Palmer’s already voluminous talent, once again confirming her as a master songwriter at the height of considerable power. This one-of-a-kind artist has miraculously molded humor, tears, confession, and naked personal pain into a matchless piece of work that could very well have been morose and gloomy but is, instead, deeply relatable, healing and inspiring.
Not originally intended to be a theatre, the buildings that comprise the Grand Opera House York officially opened in 1902 with Little Red Riding Hood starring Florrie Ford. Since then it has been owned by FJ Butterworth, the Shepherd of Shambles and the India Pru Co. Ltd who spent £4,000,000 restoring the theatre to its former glory in 1987.