Thank You For Coming: Attendance, Faye Driscoll, Arts House, North Melbourne Town Hall, Melbourne Festival, Sunday October 9th 2016
"Thank You For Coming: Attendance", Faye Driscoll, Arts House, North Melbourne Town Hall, Melbourne Festival, Sunday October 10th 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.
Do not read further as my memories contain spoilers. They are not really spoilers but become the icing on the cake for my memories. Forgive my randomness with my memories as I am still in after-glow of my memories. The order in many ways does not matter as the experience was gold.
I wrote the following on Facebook as soon as I got home:
"Thank You For Coming: Attendance" by Faye Driscoll at
Arts House for the Melbourne Festival was one of the most life affirming
uplifting dance events I have ever attended. It was the ripple effect
(management activity) in dance with the audience being encased in the action. I
was asked to hold a dress for about half an hour in a particular way by a young
lady. I welcomed her and the company to Melbourne and shook her hand. Other
audience members were holding other props too. I got swept into the action and
had to hold the dress aloft for her. There was no escape I had to hold it as
the canvas went over my head. What an experience. I held the dress aloft as she
slipped into it. She asked for her water bottle and makeup that were being held
by others. She was in a reclining pose that was hard to hold for a non dancer.
I supported her back as she applied the makeup looking into her mirror. The
young lady thanked me "That is the best back support I have ever had". The
finale involved such joy and inclusiveness. It was an event and I cannot wait
for this company's return for the next two instalments. (Name of a friend inserted here) it was
like that Turkish class we had back at VCA in 1979. You were there in
spirit!
We lined up for the General Admission and I was disappointed that upon arriving at the door we were sent back to get new tickets. What? We purchased our tickets at the Melbourne Festival launch. I had to change our tickets for a laminated version. Then to be told I was not on the list! They took my name and asked who I was with. I knew something was odd when they asked my partner's name and then I realised they were going to use our names in the show.
Upon our second attempt to enter the theatre, our friend who we were chatting with in the foyer had a laminated ticket and when chatting with him did not think anything of it. Thankfully he saved a spot for both of us. He pointed for us to take off our shoes and then join him.
A small stage of about 3 metres by 3 metres sat in the centre of the North Melbourne Town Hall. The stage was about 45 cms high and covered in white canvas. The stage was supported by thick wooden legs secured by an occasional wide black strap. I did not think much more about these black straps.
As the audience continued to enter various people (who I later learned were the cast) would approach audience members and say something to them. The cast would give them what looked like a prop or a costume.
I was approached by a young female dancer who asked me if I would hold her dress for her. She emphasised it had to be held by both straps at the top. She said "You will know when to give it to me". I shook her hand and welcomed her to Melbourne. I obliged and held the black with a small amount of gold trim dress that was similar to a Charleston flapper's dress with all of the dangling pieces of narrow fabric. (I did not know that holding it for about half an hour would be so tiring. I was protecting something precious and enjoyed being included. I was being welcomed in my home town by a stranger!)
My friend, who saved our seats (floor positions),was given a knitted top. He could hold it in his lap while I had to hold my black dress in a very precise way. My friend joked "Now don't stuff it up!" My partner was given a lip-balm and a comb. We were like the Three Wise Monkeys! "Hold up evil. Lap in evil. Embalm in evil!" (A bad joke I know!)
Finally the show began at about 5.15 pm. Later on reflection it may have started earlier with the cast giving out props etc. I know it did not start right on 5.00 pm. Sitting on the floor is also not my thing with my tricky back. But I knew there would be some standing involved, so I made allowances and just coped. I knew this was going to be special event and I did not want to miss out. Oh no I could espy a few mobile phones. Thankfully they were put away without an announcement.
The cast entered and walked past the audience onto the main stage behind us. I swivelled around making sure I protected my little black dress.
The cast sang what seemed a song of welcome and I could not catch all of the words. I would love the lyrics to know exactly what they sang. I did catch "If you need to leave....." and think they sang a something about go to the wall and someone will help you.
The five performers then moved to the centre of the North Melbourne Town Hall onto the 3 metre square stage. Each performer/dancer adopted a pose and the others interlocked to create a large shape that was not going to stay that way for very long. Of course momentum would adjust the balance of one performer and then the ripple effect would continue.
Each performer's pose varied with one in a long lunge and extended arabesque and another in an attitude position etc. Each performer had contact with at least one other person.
Gradually momentum built and the ripple effect took hold. This is similar to the management activity of "The Ripple Effect" showing how one person's action can impact others. (This can also be read as departments, companies, countries etc) Note there are many variations of the ripple effect activity.
The ripple changes the shape and the rhythm also changes as the cast try to maintain balance. There was a lot of contact improvisation involved. One young lady wore a bruise to show the potential dangers of contact improvisation and as a badge of honour. They were a very skillful ensemble who crossed each other's physical boundaries in ways that many people would find confronting. At times they looked mechanical or robotic with their connectivity.
Some sequences of the contact improvisation involved humorous gestures. A tickle here, a touch there. A kiss here, or a friendly pat on the bum (note an USA fanny - NOT an Australian fanny!)
This connection developed over time as they stomped and stamped their way on the small stage trying to keep in one unit. At times they would move around to ensure that all four sides of the stage could obtain a different view. It was respectful and mindful of those watching. They were "attending" to our needs also.
Every performance is totally unique as you cannot rehearse to replicate every move. The improvisation includes sequences or phrases with each dancer having a physical and or emotional goal.
Music or sounds evolved as the action prior to this had been in silence.
The snake like ensemble moved to the area opposite our side. More interaction occurred with sections of the audience. Then they approached another side of the stage and then a third side.
I noticed a technician put on black gloves and entered the central area opposite where we sat. I thought at first there was something wrong with the sound connection as it seemed to be stuck. The technician seemed to go under the stage. The music continued. People started looking under the stage. She was sliding underneath and undoing the black straps that held the wooden legs together. Wow - we witnessed so many wonderful surprises.
The snake ensemble rolled back onto the low stage and this time undid the canvas floor and they wrapped themselves up within a roll of carpet. They rolled towards us. Our side started to back away to give them room. The canvas was held by their left hands as they showed us they meant business and were in pursuit of our side of the audience.
They rolled off the stage and made contact with each of us. The Three Wise Monkeys had been caught. The young lady whispered "Don't go" and I stayed as the canvas stage was hoisted over my head. I held her black dress aloft creating a shape to protect it. This must have looked like a tower under the canvas as I am quite tall - even when sitting.
I giggled and laughed at how ridiculous I must look holding this black dress aloft. I was also relishing in and enjoying my involvement. There was no way out. I was triumphant and held her black dress aloft. I did not allow the black dress to get tangled.
"Thank You For Coming: Attendance" reminds me of aspects of "The Serpent" by Jean-Claude van Itallie, from New York's Open Theatre in 1969: in particular the connection to the audience. The staccato greeting section is similar to the strobe lighting movement in the JFK assassination scene. The other aspect that reminds me of this play is that "The Serpent" is described on the cover of the play as a ceremony. Both are rituals and ceremonial in performance. The snake section at the end reminded me of the Adam and Eve section from "The Serpent".
I adored these brilliant performers' sense of working in-the-round as they rotated as if performing on a Lazy-Susan dining platter.
The final section was such a celebration with the audience gradually being drawn into the action. This celebration was also reminding us of the rituals and rites of passage that we pass through in our journey of life. There is a wedding type ritual with the bouquets of flowers, the black shrouds (my souvenir piece of black cloth) for funerals, the birth ritual with the snake like weaving across the space etc. "Thank You For Coming: Attendance" is a celebration of life in the past and present. Bust most of all it is a celebration of being in the moment and living in the now.
I am writing and revising my notes in November 2016 as I savour the sheer brilliance of "Thank You For Coming: Attendance". When a show can move you for such a long period - it becomes the longest orgasm! My memories may fade but will be relived and relished as Billy Joel sang in "For the longest time".
There are so many wonderful images to relive. May you have as much fun and get the opportunity to become involved.
Please come back with parts two and there of this sensational show.
This show obtained a 8.5/10.
Reminder: Send a copy to the company in NYC and thank them.
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