887, Ex Machina, Robert LePage, Playhouse, Arts Centre Melbourne, Melbourne Festival, Thursday October 20th 2016
"887" created by Ex Machina and Robert LePage played at the Playhouse, Arts Centre Melbourne, for the Melbourne Festival on Thursday October 20th 2016.
For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
"887" is devised by Ex Machina and Robert LePage is a journey of memory, reminiscence, forgetting and hope.
The show started about seven minutes late. Robert LePage took centre stage and introduced himself and made a personal plea to turn of mobile phones and other devices. I was so relieved as the man two seats in front of me had his phone ready with a detailed sequence of messages ready for his reply. Thankfully he succumbed to Robert's plea and turned off his phone.
The woman next to me must have yawned about 20-30 times and did not stop jiggling in her seat as if she had restless leg syndrome. She also hogged her seat and tried to invade my space with her legs, arms and coat. It was distracting but I was not going to bite! She was not going to spoil this show.
Thankfully this woman made the experience even more memorable by her movements and antics.
I am writing this in November and still savouring the memories from my notes.
The show had so many levels of memory included: childhood memories, recollections of watching his grandmother's memory fade into Alzheimer's Disease and the thread of Robert Le Page trying to learn a poem for a presentation.
Set design is a collaborative effort with a team of artists, directors, and a dramaturg. There are so many people who designed this show due to the numerous elements within. There is the physical set of a model of his apartment building that unfolds to reveal other locations or rooms. There is the visual imagery, the co-ordination of the props and puppetry, in addition to the logistics of the camera work. All I can say - the design of this production is massive and brilliant with seamless transitions and minimal interruptions to the flow of the story. It is an ensemble production even though it appears as a solo show.
Many gimmicks are used in the sets and props. However they keep our interest and our focus on the story. Some of the gimmicks used included props that would travel across the stage such as cars, a long table with a parade, cameras, boots etc. The television screen came alive. Leaves fell. The shadow of a young girl behind a curtain disappeared and was similar to how the shadow disappeared in "The Echo of the Shadow".
I loved how Robert's shadow stayed at the lectern and then a shadow of his father appeared. The emotional bond was made so real with such a simple device. Robert stepped into this shadow as if into his shoes.
The cameras provided various perspectives was not a new theatrical, but was used very effectively. Robert used the camera to introduce us to various boxes. He showed us a dolls house size version of his apartment from many angles including close-ups from the camera. We even saw a close-up of Robert peering inside through the French double doors. This reminded me of "Alice in Wonderland" or "The Land of the Giants" television show from the 1960's.
Running parallel was the history of French Canada and Quebec.
A pair of boots travelled across the stage. Robert was delivering newspapers and the camera watched his approach. We saw the perspective of looking between the militia boots up to a young man who dropped his newspapers. The camera was used so cinematic-ally and captured the differences in authority, stature and respect. Instead of looking down at the young Robert the camera was looking up to him for his stance - as if revealing his fear but allowing us to admire his courage.
Technically "887" was a brilliant piece of theatre. More so, it was a beautiful emotional journey that was heart felt and moving.
"887" had great sound quality and superb surtitles.
The music used throughout was haunting. Watching the red glow of the lit cigarette in the miniature taxi-cab provided us with an insight into his father's life.
The story of why Robert was rejected from a private school was exceptionally moving highlighting the class divide and the ignorance of those who do not ask appropriate questions.
Memory can be evoked through sound, smell, touch, places, people and events. We can remember things because of our connection to a thing, person, a place or a time. Robert introduces us to all of these variations with threads to connect the story. We can struggle with our memories. Memories can fade and memories can change.
Though I may not be able to remember all of the details of the story - it does not matter. Memories come and go. Enjoy and savour what we can remember of this superb production.
I gave this production a 9/10 and my partner did not like it and gave it a 5/10.
PS I was so thrilled to meet Robert Le Page after we saw "Voces" the following night. I had to shake his hand and thank him. He is a pure genius.
PPS: Cameron Woodhead from The Age October 20th 2106 recalls some of the vivid memories from the show including how the fireworks transform into the synapses of his grandmother's Alzheimer disease. Plus he recalls the moment "when Lepage steps into the shoes of his laconic, cab-driver father." Thank you to Cameron Woodhead for helping this collective memory of this brilliant show.
The show started about seven minutes late. Robert LePage took centre stage and introduced himself and made a personal plea to turn of mobile phones and other devices. I was so relieved as the man two seats in front of me had his phone ready with a detailed sequence of messages ready for his reply. Thankfully he succumbed to Robert's plea and turned off his phone.
The woman next to me must have yawned about 20-30 times and did not stop jiggling in her seat as if she had restless leg syndrome. She also hogged her seat and tried to invade my space with her legs, arms and coat. It was distracting but I was not going to bite! She was not going to spoil this show.
Thankfully this woman made the experience even more memorable by her movements and antics.
I am writing this in November and still savouring the memories from my notes.
The show had so many levels of memory included: childhood memories, recollections of watching his grandmother's memory fade into Alzheimer's Disease and the thread of Robert Le Page trying to learn a poem for a presentation.
Set design is a collaborative effort with a team of artists, directors, and a dramaturg. There are so many people who designed this show due to the numerous elements within. There is the physical set of a model of his apartment building that unfolds to reveal other locations or rooms. There is the visual imagery, the co-ordination of the props and puppetry, in addition to the logistics of the camera work. All I can say - the design of this production is massive and brilliant with seamless transitions and minimal interruptions to the flow of the story. It is an ensemble production even though it appears as a solo show.
Many gimmicks are used in the sets and props. However they keep our interest and our focus on the story. Some of the gimmicks used included props that would travel across the stage such as cars, a long table with a parade, cameras, boots etc. The television screen came alive. Leaves fell. The shadow of a young girl behind a curtain disappeared and was similar to how the shadow disappeared in "The Echo of the Shadow".
I loved how Robert's shadow stayed at the lectern and then a shadow of his father appeared. The emotional bond was made so real with such a simple device. Robert stepped into this shadow as if into his shoes.
The cameras provided various perspectives was not a new theatrical, but was used very effectively. Robert used the camera to introduce us to various boxes. He showed us a dolls house size version of his apartment from many angles including close-ups from the camera. We even saw a close-up of Robert peering inside through the French double doors. This reminded me of "Alice in Wonderland" or "The Land of the Giants" television show from the 1960's.
Running parallel was the history of French Canada and Quebec.
A pair of boots travelled across the stage. Robert was delivering newspapers and the camera watched his approach. We saw the perspective of looking between the militia boots up to a young man who dropped his newspapers. The camera was used so cinematic-ally and captured the differences in authority, stature and respect. Instead of looking down at the young Robert the camera was looking up to him for his stance - as if revealing his fear but allowing us to admire his courage.
Technically "887" was a brilliant piece of theatre. More so, it was a beautiful emotional journey that was heart felt and moving.
"887" had great sound quality and superb surtitles.
The music used throughout was haunting. Watching the red glow of the lit cigarette in the miniature taxi-cab provided us with an insight into his father's life.
The story of why Robert was rejected from a private school was exceptionally moving highlighting the class divide and the ignorance of those who do not ask appropriate questions.
Memory can be evoked through sound, smell, touch, places, people and events. We can remember things because of our connection to a thing, person, a place or a time. Robert introduces us to all of these variations with threads to connect the story. We can struggle with our memories. Memories can fade and memories can change.
I gave this production a 9/10 and my partner did not like it and gave it a 5/10.
PS I was so thrilled to meet Robert Le Page after we saw "Voces" the following night. I had to shake his hand and thank him. He is a pure genius.
PPS: Cameron Woodhead from The Age October 20th 2106 recalls some of the vivid memories from the show including how the fireworks transform into the synapses of his grandmother's Alzheimer disease. Plus he recalls the moment "when Lepage steps into the shoes of his laconic, cab-driver father." Thank you to Cameron Woodhead for helping this collective memory of this brilliant show.
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