Will Oldham
Will Oldham
Will Oldham, better known by the stage name Bonnie 'Prince' Billy, is an American singer-songwriter and actor. From 1993 to 1997, he performed and recorded under variations of the Palace name, including the Palace Brothers, Palace Songs, and Palace Music. After releasing material under his own name, he adopted the "Bonnie 'Prince' Billy" moniker for the majority of his output since 1998...
NationalityAmerican
ProfessionFolk Singer
Date of Birth24 December 1970
CityLouisville, KY
CountryUnited States of America
I do an opening, and then I go up to the high balcony in the back and watch the bulk of the play, but then I have to leave my seat about seven to 10 minutes before the end of that final big scene...and it's a bummer.
I need to go someplace faraway that doesn't have telephones and doesn't have a record player and doesn't have movie theaters and people walking down the street in order to not do anything.
I felt so liberated when I first saw this play, because for me this is the gateway to contemplation, or this is the gateway to love, or this is the gateway to faith, not sitting and reading a book by an isolated monk, god bless him. This is.
I was worried before I saw the play, thinking I don't really want to see a play about Thomas Merton. He probably wouldn't have either, ideally. Then it isn't. It's more about us and it's about our relationship to what he may or may not have thought about. It's its own thing completely.
Venues are all the same, all feel the same, these generic blank spaces. I like artists like Lightning Bolt-bands that go in and kind of change things every time, play on the floor, set up in the middle of the room. They go in and they reinvent the space every time, which I feel is like the kind of thing that should just be happening.
In the United States the government has become less important. So, it's democracy, but as each year passes it seems that the government plays less of a role in people's lives, and so they're living in whatever situation their employment imposes upon them more than they're living in a grand political system.
I was really looking forward to doing the thing that I do - I basically appear just at the beginning and at the end of the play - but when I got to opening night, I started to get really sad that that was the last time I was going to see the play as a spectator without actually being in it.
In an ideal world, records would be filed in record stores by title rather than by artist, as they are in video stores. I think it's better to identify with the work rather than the people who make the work. You can put your faith in a piece of work, but not in a group of people you don't know.
I get a lot out of a show when I know that I don't know anyone in the audience and don't think the audience knows much about the music.
I think most great actors have their own life trajectory, the character motion doesn't have anything to do with their life motion.
I feel like, for me, reading Thomas Merton is like that. When you're a ways into it, you're five pages in, 20 pages in, 30 pages in, it seems like one of the more oxymoronic undertakings you could attempt.
There's nothing that compares to watching that final 17 to 20 minute sequence in one sitting. It fills you with a giddy energy watching that. Then, being gifted with the silence that follows...I've never had a theatrical experience like that before, I'm sure.
If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.
You're making something that won't be what it is until some unknown date in the future. All aspects of the personal disappear.