David Bowie’s secret 18th-century musical, “The Spectator,” reveals his hidden theatrical dream, now unveiled in his study notes donated to the V&A Museum.
A Secret Revealed
Now, let me tell you a tale of one David Bowie, a man whose genius was as wide as the Mississippi and as deep as the Grand Canyon. When he left this world in 2016, he left behind an album, Blackstar, that was as profound as a preacher’s sermon on a Sunday morning. But unbeknownst to his closest companions, he had also embarked on a secret project, an ’18th Century musical’ he called The Spectator. This hidden gem was discovered locked away in his study, much like a treasure chest waiting to be opened. The notes, now residing in the V&A Museum, reveal Bowie’s fascination with the art and satire of 18th Century London, and tales of the infamous thief ‘Honest’ Jack Sheppard.
Had Bowie completed this musical, it would have been akin to a riverboat gambler hitting the jackpot. ‘I always wanted to write for the theatre,’ he confessed to BBC Radio 4 in 2002. It seems our dear Bowie was not content to merely sing his songs; he yearned for the stage, the lights, and the applause of a grand audience. His notes, left undisturbed in his locked office, were like a time capsule, preserving his dreams and ambitions. Now, they are set to be unveiled to the world, offering fans a glimpse into the mind of a man who was always one step ahead of the rest of us.
London’s Alluring Chaos
Bowie’s notes reveal a fascination with the bustling, chaotic world of 18th Century London. It was a city teeming with life, much like a beehive buzzing with activity. London was the largest city in Western Europe, a melting pot of people, ideas, and, of course, crime. Bowie was particularly intrigued by the stories of crime and punishment, envisioning scenes of public hangings and surgeons fighting over corpses. He considered making Jack Sheppard, a lovable rogue, a central figure in his musical, alongside Jonathan Wild, the ‘thief-taker general’ responsible for Sheppard’s downfall.
The streets of London were a stage where the virtuous and the villainous played out their dramas side by side. Bowie found these juxtapositions captivating, much like a river that runs both deep and swift. The Mohocks, a notorious gang of young men, added a touch of menace to the city’s vibrant tapestry. These tales of high society’s folly and the common man’s struggle resonated with Bowie, who saw in them the potential for a rich, satirical narrative. It was a world ripe for exploration, and Bowie was ready to dive in headfirst.
Art, Satire, and Society
Bowie’s exploration of 18th Century London was not limited to crime and chaos; he was also drawn to the art and satire of the era. He studied painters like Joshua Reynolds and William Hogarth, and the creation of the Royal Academy. Bowie was intrigued by how musicals of the time were used as vehicles for political satire, particularly against the government of Robert Walpole. It seems he was pondering the role of artists in society, questioning how they could use their craft to comment on and perhaps even influence the world around them.
In his musings, Bowie may have been drawing parallels between the Enlightenment and the modern day, contemplating the power of art to enact change. As he worked on this project in the US in 2015, he might have been reflecting on the political climate of the time, pondering the potential of art to shape our political moment. It’s a thought-provoking notion, and one that speaks to Bowie’s enduring curiosity and his belief in the transformative power of art. His notes, like breadcrumbs, lead us through his creative process, offering a glimpse into the mind of a man who was always searching for deeper meaning.
Twain’s Take on Bowie’s Tale
Now, as I sit here, pen in hand, reflecting on this tale of David Bowie, I can’t help but admire the man’s audacity. He was a dreamer, much like myself, always reaching for the stars while keeping his feet firmly planted on the ground. His secret project, The Spectator, was a testament to his boundless imagination and his desire to leave a lasting legacy. In his pursuit of art and truth, Bowie was much like a riverboat gambler, always willing to take a risk for the chance of a big payoff.
In the end, Bowie’s story reminds me that we are all, in our own way, performers on the stage of life. We wear our masks, play our parts, and hope that, when the curtain falls, we’ve left something behind worth remembering. Bowie’s hidden musical is a reminder that even in our final moments, we can still dream, create, and inspire. As I look back on my own life, I see the same folly and beauty in humanity that Bowie did, and I am grateful for the chance to share in his vision, if only for a moment.
