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 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.

They developed into a long snake like shape and entered the audience.  The cast played with different audience members enticing them to become involved in the "contact improvisation".  One lady took off someone's glasses which really broke the ice.  It was safe play and interaction.

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.

There were no distracting mobile phones during the show.

This show obtained a 8.5/10.

Reminder:  Send a copy to the company in NYC and thank them.

Since I Suppose, Arts House, Chicago Shakespeare Theater, Thursday 16th October 2014

Since I Suppose, Arts House, Chicago Shakespeare Theater, one step at a time like this, Richard Jordon Productions Ltd and Melbourne Festival, Thursday 16th October 2014

For those new to my blog I write about the holistic experience of attending the theatre.

I tried to book these tickets while I was in Chicago in late July 2014 to no avail.  I was told to wait until I got home in order to do so as bookings were via Arts House and the time delay was an issue as I kept being put on hold.

I managed to book all of my other Melbourne Festival tickets whilst in Chicago.  It was not as easy as previous years as they did not have a dedicated international line like in previous years.  Maybe they fixed this up after I provided them with feedback.

I wrote to the Chicago Shakespeare Theater telling them how eager I was that they were coming to my home city. Being in Chicago at the time I had to go past their theatre at Navy Pier and savour the moment - knowing they would be coming to Melbourne.  They were showing the cut-down children's version of "Seussical: The Musical" playing at the time.  I had seen the full version and did not want to see the condensed version.

This Melbourne Festival brochure describes this production as "stolen tale from Shakespeare's "Measure for Measure"."

There are aspects to building excitement around a production with marketing and publicity.  I love the description in the brochure and the subsequent follow-up emails.  Not one, but at least two emails to ensure that you knew that the starting location is the Melbourne Grand Hyatt's Russell St entrance and the finishing location is in North Melbourne.  Another email outlined some important information about the event and offering a short synopsis of "Measure for Measure" and a link to print a programme in either PDF or Word format.

Wow am I impressed!

But there is more....

There was a follow up phone call by Lexia from Arts House on the morning of October 16th making sure that we had received the email and watched the video to prepare us for this exciting event.  What a build up.  No wonder this event is sold out.

"Since I Suppose" is presented by the Melbourne Festival , one step at a time like this, Arts House, Chicago Shakespeare Theater, and Richard Jordon Productions Ltd.  We attended the 6.20pm performance on Thursday 16th October 2014. Performances run every 25 minutes.

In fifty years of attending the theatre "Since I Suppose" is in my top ten theatrical experiences.  I was lucky enough to be able to tell some people at the end that I rated it as memorable as the original Peter Brook's "Conference of the Birds" at the old HSV Tele-theatre in Fitzroy in the early 1980s.

Sadly I cannot tell too much about what happens during "Since I Suppose"  as it would spoil it for others.  But I will be documenting my full experience for historical theatre records.

Upon arrival a the  Melbourne Grand Hyatt  we went up to a desk thinking it was to do with the show, when in fact it was a trio of woman from the Jehovah's Witness God's Kingdom conference celebrating 100 years (1914 -2014). 

How ironic that in the space of five minutes we had one of the greatest designers of fashion who highlights the sexuality of men and women, Jean Paul Gaultier and his entourage wander through.  They were on their way to the National Gallery of Victoria for the opening of an exhibition of his work -"The Fashion World of Jean Paul Gaultier: From Sidewalk to Catwalk."  Soon to wander through the foyer was the androgynous model, Andre Pejic to model both in his men's and women's wear range has just had gender alignment surgery to become a woman and now as Andreja Pejic  These happenings are so relevant to the sexual themes of the show.  What a prologue.  You could not get any better.

In fact the political sexual scandal and events recorded in the Herald Sun and The Age are so relevant to the theme of the show.  Also, in the same edition, the cartoon on page 68 of the Herald Sun  (October 17th 2014) is so appropriate and makes the show such an ongoing experience.  You could not get a better epilogue to a show.

The initial phone call at 6.20pm in the foyer/lobby of the Grand Hyatt meant that this was the first show in the 28 year history of the Melbourne Festival to start on time.  (We have seen about ten events at every festival.)

We advise going to the toilet upstairs prior to waiting in the downstairs foyer.  Also take a small box of sultanas or nuts and maybe a bottle of water with you. Or maybe not if you want to experience potential hunger pangs.

We were welcomed by a voluptuous woman in red. She confirmed our name and "I asked if she were Isabella?" I loved her provocative answer to my question when welcomed "I can be what you want me to be." We were provided with a choice right up front!  Whew - where was this going?

We received our headsets and instructions for using a Moto G smartphone after our initial greeting.  These actors are fine improvisers and ready for any challenge within the boundaries of the theme. 
We are given a device to wear and also warned about crossing the roads and watching our step.  A great example of health and safety.  We were also provided with a help phone number in case of problems.  What if we opted out?  I chose not to ask this as I wanted to experience the event and only use this option via the help line if desperate to do so.  I will be interested to see if anyone does opt out during their session.

We finished at 9.10pm and were delayed due to some traffic delays.  This was about half an hour longer than anticipated and was the only major drawback.

Also we experienced indecisiveness at one venue due to the construction works.  It was roped off all around and we had to find our way.  yes, we could have called the help line but you have to use some common sense and be street wise.  These works were finished a few hours after our venture there.  So you have to be willing to take calculated risks and use common sense.  When in doubt call the help line.

There are ample opportunities to use toilets along the way. Being such a cold night meant the bladder weakened a little more than usual.  Maybe it was the anticipation, excitement or adrenalin.  I think it was all of the above.

You will encounter other people on your journey who will be intrigued with your earphones and your Moto G smartphone. We did look very conspicuous!

Some times you have to walk at a faster pace to keep up with your guide. There are times when for example a shop front has changed name and you have to do a double take to make sure that you are in the right location.

Taking some gold coins may be worth your while.  There may be opportunities to use such - if you choose.  I was engrossed by making a note about my reactions that I regret now I did not think to take the opportunity to spend some coins to record a part of our journey.

There is a list of guardians and performers in the programme.  There has to be minders or guardians looking out for your welfare on the journey to make sure that you do not get lost and are on track.  Some are more obvious than others as we struggle with different aspects of our journey.  At one stage I had gone one step ahead by accident.

My partner and myself use the one, two, three fingers to synchronise our pressing of the stop or play or pause buttons.  This was fun to watch other people's reaction to our obvious choreography.

"Since I Suppose"  is an event.  When attending the theatre I have  experienced many emotions of compassion, empathy, sadness, tragedy, love, joy and laughter.  I have never experienced the range of emotions that I felt during "Since I Suppose."   My boundaries were pushed at times and they could have gone further.  But then I did have the choice to go further if I wanted to. So yes I even experienced some post-show regret. The emotional connections and themes link into  "Measure for Measure" magnificently.

How does it feel to be a part of a sinister plot? How does it feel to not know what will happen?  You are physically guided at times.  Sometimes you are directed, coaxed, persuaded, seduced, tempted, bribed.  It is your choice.  Or is it?

Do not take any valuables with you as you stand out in the crowd.  Even though I safely finished the event does not mean you will. That is why the guardians are so important.

It is amazing as I write this as I want to share more with you but that would spoil the event. 

What would you accept from a stranger? 

Do not attend if you do not like to be challenged with claustrophobia or the fear of the unknown.  But the actors are obviously prepared for any issues as I can attest.  They know how to make you feel safer when you feel unsafe.  They do not patronise you and keep in character at all times.

I love the use of the cards and magic or slight of hand.  You get to keep some souvenirs and I suggest you keep them as they will be sought after by collectors in years to come.

I also got to experience some emotions of pay-back to one performer who challenged me.  By me asking for her identification or my threat to call 000 made her speechless.  It was as if we were not only observers but a part of the action.  After a pause, she quite rightly said that she could call security - she realising that I was playing with her emotions as she and the other actors were playing with our emotions.

I have to laugh about the waste of money on establishing the Myki system and the political dramas that ensued.  How do these link in?  Well in New York it costs less to buy a similar card and only $5 for a Ventura card in Chicago that you can keep.  Imagine having yours taken from you at $16 a pop.  Or are they taken from you?  Are you stranded?  What does it feel like?  Can a Myki card be worth so much? Is your life worth so much? MMMMMM Is this relevant?  Without giving too much away - it all relates to the politics of power.  Maybe our own power.  Are we powerless?  Do we have choices?

There are so many aspects of "Since I Suppose" to be relished.  I think I will always remember the holistic experience from trying to book my tickets in Chicago, to the emails, the build up and excitement, the waiting, the anticipation and the event itself.  Most of all  - are the memories and my notes to record so many happenings.

Our only quibble was getting back from North Melbourne at the end. We were very hungry and it was very late eating at about 9.30pm.   Otherwise park your car in the North Melbourne area before the show.  (MMMMM maybe a Myki card!  That is why a tourist card is so important.)

Congratulations to Suzanne Kerstan and one step at a time like this for sensationally orchestrating such a theatrical event.  It would have been more sinister doing the lone journey in Chicago and thankfully I got to experience it (most of the time) with my partner.

I cannot thank the actors, guardians, technicians and producers enough for creating such a memorable theatrical event. Namely, the Melbourne Festival , one step at a time like this, Arts House, Chicago Shakespeare Theater and Richard Jordon Productions Ltd.


Overall this production gets an 8.5/10.