"Self", Hucklebuck Productions, Chapel Off Chapel, Thursday September 28th 2017
"Self" presented by Hucklebuck Productions at Chapel Off Chapel on Thursday September 28th 2017.
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.
Beg, borrow or steal a ticket to see "Self" presented by Hucklebuck Productions at Chapel Off Chapel. This show deserves a larger audience and should have played at The Alex in St Kilda to showcase this exceptionally talented cast and crew. The Chapel Off Chapel setting does not allow for good sight lines as you are looking down through the audience to try to view the production.
Audiences deserve a much better viewing experience to see this exceptional dance production. I have seen so much theatre and dance in my lifetime and this show is one of the best all dancing shows I have ever seen.
The programmes are good value at $5.00 with only one spelling error. Best of all, they have the year (2017) dated on the programme that is so important for theatre historians and our memories, and missing from so many theatre programmes and posters. The programme seller introduced himself and I was impressed. He is one of the Hucklebuck Productions producers, Mark Taylor and he knows how to welcome an audience and engage to develop rapport, support and loyalty from his audience. I wish him and his co-producer all the success in the world as they demonstrate the BUSINESS side of show-business. I would feel confident in backing any production they would develop. I look forward to their future endeavours.
The choreography by Michael Ralph is the best work I have seen him produce. His thematic structure with a simple phrase builds to introduce each new sequence. More importantly he builds and textures this phrase that tells a moving story with clarity. He shows us so many aspects of the ego or self.
Rohan Browne stars as The Artist in this ensemble piece and displays so many varied mental states. This is so relevant given the statistics for mental health of actors, dancers, musicians and other Australian entertainment industry workers. I applaud this fine performer for showcasing such an important aspect of the entertainment industry.
Rohan Browne does more than dance this show - he encapsulates so much depth of emotion and draws a clear story through the choreography and direction. Technically, he is a confident dancer. He developed throughout the fifty minutes so many varied qualities of movement. Rohan Browne is charismatic and full of empathy for this character's journey - the ups and downs of an artist's life. Maybe "Self" is auto biographical. If so, I am even more grateful for this expose.
The opening sequence has The Artist enter as a large circle of light envelopes the stage. He evaluates the space and enters this circle. Gradually, he exposes different elements to his character. He introduces a major theme with a series of gestures and moves. He performs a show-off style solo and the other six dancers form around the circumference of the circle, as if trapping The Artist to confess.
The circle is another choreographic theme that is repeated and developed upon. This circle image has a brilliant choreographic depth as we enter The Artist's conscious, his inner self, a cage, a prison, a blur, and the neurons of his brain activating thoughts and memories. This is some of the finest psychological choreography I have seen realised with such clarity, depth and storytelling.
Some of the sequences showcase the indulgent "Selfie" possessed/ "Fear of missing out" personalities. This is evident particularly when two females begin the "Narcissistic Self" section. Michael Ralph uses gestures in a meaningful and without cliches.
The Artist, Rohan Browne is backed up by an exceptional ensemble: Loren Hunter, Sheridan Anderson, Romina Vilafranca, Alex Given, Max Patterson, Jordan Turner and Jackson Rudge. Each dancer has their own unique style and more importantly keep in unison when required. Here is a true ensemble with a shared vision. Congratulations to all for your professionalism and showcasing Michael Ralph's wonderful rich choreography.
The "Sensual Self" sequence was tender and caring, while the "Indulgent Self" sequence reminded me in part of a section from the latest version of "Pippin" that we saw on Broadway in 2013 and again in 2014. Here, Michael Ralph does not choreograph sleaze but an indulgent self gratification with groping and changing of group formations.
Diagonal patterns are a major theme with many of the choreographed entrances and exits, as well as with the defined diagonal lighting tunnels. It appears at times to suggest being tunneled in, or focused, or even obsessed. It at times suggests how The Artist (or any artist) walks fine line with risk. This walking-a-fine-line image is accentuated in one entrance by Sheridan Anderson. It is not a laboured theme, but introduced appropriately to suggest what had occurred previously.
The "Fearful Self" sequence opens again with the repeating theme, but with restraint, caution and hesitation. His gestures are not as pure and have been tainted as The Artist, Rohan Browne reaches for a bottle and reveals a tortured soul. Here, the texture of the movements has an added maturity and meaning: desperate, scared and restrained, wanting to reach out. The ensemble display variations of gestures of addiction and indulgence -with snorting, drinking and hints of intravenous drug use. Rohan Browne's breathing is emotionally charged and revealing, as we feel The Artist's despair.
The "Inner Self" sequence opens up possibilities and allows us to see inside the capacity for hope and inner turmoils of how this character developed his successful self that begins the show. We get to see inside what made him determined and successful.
The final sequence is the "True Self" which adds richness to the tapestry of The Artist's life. His pas de deux with the young Jackson Rudge was exquisitely moving. The final sequence to find the "True Self" creates a satisfying and uplifting finale to an inner journey. Their final exit was satisfying and complete.
Some pas de deux lifts needed more plies in their preparation, and more support and timing synchronisation. While the pas de deux with Alex Given and Romina Vilafranca had a more assured quality with their requisite preparation, support and timing. Both of these fine dancers have secure technique and more importantly great presentation. Their pas de deux was juxtaposed by the partnership between Rohan Browne and Loren Hunter, who developed an insecure, doubtful and questionable quality to their dance partnership. This was choreographically intentional and allowed us to question the vulnerability of the star system. I loved this for subtlety introducing this power struggle. Superb choreography is displayed with so much complexity of meaning.
Romina Vilafranca has great battu that is so crisp in her cabrioles en avant. Her attitudes derriere were clean, solid and electric as they cut through space.
Lighting Design by Tom Willis was the ninth dancer in this production. He created lighting patterns that helped tell the story with the central circle, the diagonal light tunnels, the cascading vertical columns, the fade in/out effects, and the shutters or curtain-down effects over the band. A vast range of lighting design supported the production.
Costume Design by Gemma Kelly channeled a little of the functionality and urbane qualities of Theoni V. Aldredge's costumes from "A Chorus Line". The men's trousers particularly take advantage of the latest technology of stretch fabrics (which were revolutionary during the 1970's). Sadly some of the dark costumes got lost at times against the black of the band. The costumes were essential for some of the choreographed sequences: in particular, with putting on the jackets. Michael Ralph is developing a signature style of choreography with his use of costumes.
Sound Design by Marcello Lo Ricco was balanced and comfortably loud enough to hear each one of the instruments.
Music was composed and arranged by Jack Earle. Remember Jack Earle. Repeat remember JACK EARLE as his terrific compositions seemed to be written as Tchaikovsky was commissioned to write his ballets. There was a clear relationship to Michael Ralph's choreography and the music. What a team! I look forward to more of their collaborations. Las Vegas look out!
Overall, Michael Ralph has developed as a choreographer and he is someone to watch with his capacity to grow. I am in awe at his gestural vocabulary that is so clear and concise - unlike some of the classical ballets. Michael Ralph's choreographed gestures remind me of the clarity of Christopher Wheeldon, Matthew Bourne and Graeme Murphy - clean, sharp and with purpose. Michael Ralph even textures gestures with fuzzy and indistinct qualities to relay varied messages and emotional complexity.
"Self" reminded me the controversial winner of 2000 Tony Best Musical "Contact" choreographed and directed by Susan Stroman with a hint of Twyla Tharp's "Come Fly Away". "Self" deserves a larger audience and is sensational value for an hour show. I prefer an hour of quality than two hours plus of mediocrity.
