In Plan, by Michelle Heaven at The Malthouse Theatre's Workshop for the Melbourne Festival, Sunday October 15th 2017
"In Plan", by Michelle Heaven was presented at the Malthouse Theatre's Workshop for the Melbourne Festival, on Sunday October 15th 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 it is more of a stream of consciousness.
"In Plan", by Michelle Heaven was presented at the Malthouse Theatre's Workshop for the Melbourne Festival, on Sunday October 15th 2017. We have attended every venue at the Malthouse Theatre and have never been into the workshop area. We thought this show would be presented in the area where the old workshops were located. Yes, we were taken via a back door to an entrance to their new workshop building.
We all gathered in the Malthouse Theatre's Workshop temporary foyer where we were given some information: to place our personal items in an area as we would be laying down for the show. This was similar to placing your personal items before boarding an amusement park ride. The lady was very helpful and suggested that anyone who had any issues with lying down to come and speak with her. I could tell they had worked out contingency plans as they had a ramp as well as the steps. The lady recommended that after the show we should take our time to come up slowly as we may feel light headed.
"In Plan" would be wonderful for people who have confined mobility to be able to lay back and watch the show. Logistically this may be an issue but it would extend their experiential view of the world.
The programme is a silver circular disc with information on the back surrounded by twenty numbers. This silver disc reminded me of the astrological maps for navigating the stars. It was as if each number was a designated place for each audience member to lay down to view the show. They do need to proof read their programme as the Production Manager was spelled as "Mananger".
I loved the quote: "An investigation into above, below and beyond" that was featured in the 2017 programme.
"In Plan" is based on actual events from 1979. A film "Night Crossing" was made of these events.
"In Plan" is one of the most inventive contemporary dance works that I have ever seen. There was a clear vision with a plan of escape. We lay on our backs and looked up. The logo as per the silver disc programme was above us. Gradually it was if the curtains (or lights) closed in and shut out the titular logo.
A lone performer appeared above us. Or maybe she was below us. Our perspective was challenged. It took a little while to adjust your sense of balance and where you were looking. It felt like we were free-falling to earth at times. Was this person above us and if so - how? Or was she below us and projected up above? Or was it done with mirrors? Either way the introduction allowed us to adjust our senses and wonderment. The performer could be a resident from East Berlin.
Another dancer joined in and it was like a mirror dance with their arms. Was it a mirror? No, it could not be as they both wore different outfits. They would leave the circle space and enter from another side.
At one stage the main dancer made multiple entrances and it allowed her time to move between each new entrance. But then we were challenged again as she kept entering so quickly that it would impossible for her to move to a new entrance on the other side of the circular stage. Were her entrances looped as a video? Or were we witnessing multiple dancers in similar costumes entering from the same entrance? Either way, I do not care as it challenged my perspective and excited my sense of the possibilities for a plan.
A central hole was revealed and fabric that could have been a sheet taken out. Then another large sheet of fabric was pulled from the hole. Each sheet was placed on either side of the stage to now frame our view of the central hole. Then a third sheet was pulled from the hole and covered over the central strip of clear stage. This new sheet also covered up the hole. The retrieved sheets sequence reminded me of episodes of "Hogan Heroes". Whew the stage disappeared! I cannot remember specifically as there were so many magical illusions to trick our sense of perspective during this show. It could have been that a new stage was underneath. I remember being excited and wondering why is there no hole located underneath now. I was intrigued and fascinated. All of this was within thirty minutes.
Some segues between scenes were lighting changes while others were like PowerPoint presentation window changes. Another time one performer lay on the ground and a new stage appeared to enter over her head as if encasing her in a grave.
A military soldier or guard appeared, and then there were three military soldiers. There unison dancing was cold, calculated and accurate. Their sharp moves were magnificent to view from our perspective. They paraded a sense of duty and protocol. We were again challenged with where we were looking. When each of the three soldiers looked up or over their shoulder it was haunting or inquisitive or suspicious or monitoring. When all three soldiers looked up together they seemed both curious and awestruck. The choreographic combination paid homage to the cruelty of anyone incarcerated and imprisoned.
A map or a plan was drawn on a brown surface. This was partially erased by the sheets or fabric. The brown surface moved as another surface was rolled in. It was if there were multi level stages as per The State Theatre at Arts Centre Melbourne. My perspective was really challenged.
My memory blurs to the order of the various sequences. This show kept me spellbound in each moment holding my attention without any distraction.
During another sequence a cover or new stage appeared to slide in as the other stage slid away.
There was a sequence that created the effect of a person walking with their shadow. This was achieved by one dancer walking upright while the other lay on the ground and walked in unison. They both walked and synchronised the position on each other's feet as if supporting each other and as if the person laying down was the shadow of the upright person. The only distracting factor was that the person lying on the ground as the "shadow" needed to move their arms to mimic the walker to create a fuller shadow effect. This sequence was another challenge to our sense of perspective as if we, the audience, were the sun looking down and casting the light on them to create the shadow.
It was as if we, the audience, were playing a God-like role in willing the success of their escape. We could be their "hope", "possibility" or, a guiding beacon to a safer place.
The programme described the show as "A covert and daring plan to final departure". This is so relevant to the final images of floating through clouds as if flying or being in heaven. Did the people survive or did they fall to their deaths? Either way the final nude image is like a Cherub in heaven as if a Botticelli angel. At times we too felt as if we were flying or floating away.
Design by Ben Cobham bluebottle was clever, simple and effective. More-so, his designs were thought provoking and created a sense of occasion. We felt as if we were a part of a living history - as if we were witnesses to this historical event.
Costumes by Harriet Oxley were functional and theatrically explicit, especially the military uniforms that were slick and oppressive. I have previously seen Harriet Oxley's designs in a VCA production of "Lil Abner" and I am impressed with her work. I hope to see more of Harriet Oxley's work in the future. Harriet Oxley is a theatre designer to watch.
The music by Bill McDonald was stirring and created tense moments of suspense and held me captivated and emotionally hopeful.
"In Plan" is one of the best contemporary dance works that I have ever seen for its clarity of vision, execution of that vision and for the journey that we were taken on. This was an emotional journey of desperation, hope and possibilities. The way we viewed "In Plan" was no pain compared to the angst and pain of those trying to escape East Berlin.
I could quite easily see "In Plan" again.
Michelle Heaven is a wonderful artist and this show deserves to tour international theatre and dance festivals. She has created an uplifting and inspirational work.
"In Plan" obtained a hearty and well deserved 9/10. My partner did not like it and gave it a 7/10.
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