Dream Lover: The Bobby Darin Musical, State Theatre, Thursday January 11th 2018

"Dream Lover:  The Bobby Darin Musical", State Theatre, Thursday January 11th 2018

"Dream Lover - The Bobby Darin Musical" was presented at the State Theatre, Arts Centre Melbourne on Thursday January 11th 2018.

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.

"Dream Lover - The Bobby Darin Musical" was presented by John Frost (Gordon Frost Organisation) and Gilbert Theatrical at the State Theatre, Arts Centre Melbourne  on Thursday January 11th 2018 is a sublime show.

I wrote the following paragraph onto Facebook as soon as I arrived home after the show:

"Congratulations to the cast and crew of "Dream Lover - The Bobby Darin Musical".  I have seen over 60 shows on Broadway and it is up there with the best.  A great night at the theatre.  I bought front row seats accidentally thinking I was five rows back and these performers could not hide.  Wow - great honest and heartfelt performances.  Yes, David Campbell is sublime as Bobby Darin, but the whole cast were terrific.  The choreography was fabulous and paid homage to the 1950's and 1960's.  Highly recommended."

The "Childhood" and "Road to Rock 'N Roll" sequences provide the background to Bobby Darin's story and set up the characters and their emotional relationships.  These two sequences provide so much musical and dramatic action to build the sense of anticipation and tension.  The staging and dialogue is so tight that you do not want to miss a line.

The "Vegas" sequence is short.  The Las Vegas showgirls scene showcased female dancers who were slicker and more polished than those that I saw in "Jubilee" at Bally's in Las Vegas in 2008. 

During the "Hollywood" sequence, the Clapper-board used in Italy with Scene 74 and Take 1 was not changed for each of the various shots.  Pedantic, yes but not unnoticed!

The finale to Act One with "Dream Lover" sung by Bobby Darin and Sandra Dee was an appropriate cliff hanger break for those who do not know his story.

Act Two opens with the "On Tour" sequence and a reprise of "Dream Lover" by Bobby Darin and the ensemble.

The "Multiplication" song is next, and begins in full voice, fading to be mimed to juxtapose a scene where Sandra Dee's mother confronts her daughter.  The ensemble miming creates a musical silence that is deafening against the dialogue.  So brilliantly effective with the ensemble resuming the vocals to counterpoint and punctuate the finish of the scene.

The "On Tour" sequence continues with four more songs which pays homage to the "Gypsy" stripping sequence where Gypsy Rose Lee sings "Let Me Entertain You" sporting quick-change gowns.  In "Dream Lover - The Bobby Darin Musical", they use a similar theatrical sequence by announcing different venues where Bobby Darin will perform: "Live from (fill in the venue)...."; but instead of repeating the one song as in "Gypsy", a medley of Bobby Darin songs is used.  This sequence also pays homage to the historical reverence to some old classic songs that Bobby Darin had reworked.

The "Copacabana" sequence, although short, more importantly allows the story to move forward by providing the realisation of Bobby Darin's childhood dream.  This realisation of his dream emphasises the significance of the show's appropriate title.

The "Slippery Slide" sequence included a reassuring and educational song of experience by Polly "Everybody Has The Right To Be Wrong" that pointedly highlights how wrong Bobby Darin's choices had become.

Bobby Darin's son, Dodd played admirably by Oscar Mulcahy reprised "Splish Splash" and received an enthusiastic ovation for his slick dance moves and impersonation of his father.

"Rainin'" was a poignant funereal tribute to Robert Kennedy.  The staging with all of the umbrellas was a bit cliche as it reminded me of each of the funeral scenes from  "Blood Brothers" and "Chaplin".  What is it with the umbrellas that highlight the pathos of a funeral and to provide the subliminal message of tears from heaven?  The transformation of the white coffee table from the previous scene into a coffin was simple, and visually and emotionally moving.  (See Getty images for Charlie Chaplin funeral).

The emotional finale with the characters surrounding Bobby Darin is poignant.  The suitcase opening is magical stuff.  Watching the cast was very moving.

Every ensemble member played a fully blown out character.  There were no two dimensional performances here!

The choreography by Andrew Hallsworth captures the essence of the 1950/1960's era with his combination of steps and staging.  He has created layers of texture into his choreography by using various qualities.  The formations he uses with the six entrances provide interest, spontaneity and surprises.  (The six entrances include the two wings, the doors, upstage - down the stairs, and from under the piano!)  Occasionally the dancers will sneak or explode onto the stage.  While other times they will parade, or pas marche in a solemn funeral procession.  "That's The Way Love Is" sequence climaxed with some clever swaying and pulsating body thrusts - suggestive and appropriate for the choreography to also move the story along as in Agnes De Mille's iconic choreography for "Oklahoma".

Lighting by Paul Jackson provides focus and clarity with the use of colours to distinguish locations.  The slim rail flown-in was lit to provide a clear sense of separation of distance and location.  This was achieved in combination with the Set Design by Brian Thomson.  The set looked simple and was ingenious in its simplicity to create the sense of various locations - particularly in the many showrooms, theatres and venues that Bobby Darin played in.  The white lounge setting had a white coffee table that transformed into Robert Kennedy's coffin.  This was tastefully achieved with honour and respect.  The kitchen scene with the family during the "Childhood" sequence transported you back in time to the 1950's.

The big band set with the sweeping staircase is nothing new to Hollywood or Broadway musicals and reminded me of the wonderful set from "Catch Me If You Can".  Brian Thomson is a classy designer for his ability to create focus and gravitas to the essence of a story.  I have seen many of his set designs and the simplicity in "Dream Lover - The Bobby Darin Musical" is not to be under-rated as it provides clarity to the story and seamless segues between scenes.

Sound Design by Michael Waters provided an appropriate and contrasting sound mix.  The crisp, clean sounds for soloists and ensemble numbers contrasted when the performers used the larger silver microphones as in showrooms, which provided a realistic concert- not so polished 1950's sound.

Costume Design by Tim Chappel transported me to my childhood as I remembered some of the various patterns and textures of fabrics.  When Bobby Darin and Sandra Dee's son, Dodd, played by a Oscar Mulcahy, appeared in his blue and white pyjamas the audience had a chuckle of recognition that the pyjamas were the same fabric as the dancers had worn in the previous scene.

David Campbell was Bobby Darin.  He was totally believable and is a tour de force.  The genuine emotional connection to the material and his relationship to the other characters could not be fabricated.  We sat in the centre of the stall's front row where David Campbell and the cast were under the radar.  He has an honesty interacting with the other characters.  His ability to listen to the other performers created honest emotional connections that were palpable.  His tears trickled down his face on at least two occasions as he allowed the depth of revelations to sink in.  And this was his sensational acting!  Wait until you hear this man sing!  He knows how to adjust his voice to create so many qualities and emotions.  David Campbell is a master in phrasing and brings the lyrics to life. He can change his voice from a teenage idol, to a more mature sound and finally to a man gasping for breath!  Broadway would want to see him play this role.  No - Broadway should be begging to see him play this role!

I am loath to use the term supporting cast as Bobby Darin's story would not come to life without the other performers.  Marina Prior plays the dual roles of Polly and Mary and makes each character physically, vocally and emotionally distinguishable.  At times when the deceased Polly reappears it reminded me of "The Secret Garden" when Lilly would reappear.

Marney McQueen plays Nina and provides us with a definite journey of pain, sharing and discovery.   David Campbell would not have been able to create his believable reactions without their acting relationship.  The revelation scene was magnificently poignant and gut wrenching, while earlier scenes were full of joy, support and love (obviously with an underlying secret).

Rodney Dobson as Charlie was upbeat, blokey and supportive.  He has a terrific stage presence and showed  "That's The Way Love Is" song as a great number that compares with the "Oh What A Night (December '63)" scene from "Jersey Boys" providing a similar dramatic through line.

Martin Crewes played manager Steve Blauner with style, flair and the appropriate amount of cockiness.

Hannah Friedriksen played Sandra Dee by capturing the 1950's innocence.  Her journey from naivety, to alcohol abuse to rehabilitation was believable.  Hannah Friedriksen had a vulnerability that was respected with tenderness by David Campbell and allowed for an honest relationship.

The dual role of a Young Bobby (Darin) and Bobby Darin's son, Dodd was admirably played by a Oscar Mulcahy. He mimicked his father's moves with dexterity and confidence.

I was disappointed that the other minor roles were not named named in the programme as in Dion, Frankie Avalon, Buddy Holly etc.  I can understand that with swings and understudies these can change, but I wanted to acknowledge what a super ensemble provided so much depth to this show.  Every one of the ensemble cast created clearly distinguishable personalities for each of their cameo roles.

Musically - what a show!  The big band led by Richard Montgomery was sensational.  Before the show began the band played to create a sense of occasion, as if entering a Las Vegas showroom.  Thank you for creating atmosphere.  A huge compliment to the orchestra was that most of the audience sat during the exit music.

Congratulations to Simon Phillips on directing such a wonderful night at the theatre.

The only reason I did not stand in a well deserved standing ovation was that I would have blocked David Campbell being seen as I am so tall.  I could not take block the audience seeing him in his well deserved standing ovation.

The programme is a great souvenir and is good value with some terrific articles.

Overall, "Dream Lover - The Bobby Darin Musical" obtained an 8.5/10.  I would have preferred to sit further back to relish this lush and clean production.  

PS In fact I am returning to see the show again on February 21st and will sitting about six rows back in A row.

2017 Melbourne Festival Summary

Melbourne Festival summary 26th October 2017

The 2017 Melbourne Festival was the 31st festival that I have attended and I provide my summary:

Buying tickets:

We bought our tickets at the launch at the Melbourne Recital Centre. I always buy our tickets on the first day of tickets going on sale.  The young lady at the Melbourne Recital Centre was most helpful.

Brochure:

The Melbourne Festival brochure has the planner via each venue.  I have changed my opinion and am now convinced that I prefer this format compared to naming the shows down the left column.

Venue announcements:

I am not impressed with the inconsistent pre-show announcements at each venue.

I was very impressed with the usher who was proactive at "Backbone".

The pre-show announcement for “Ever” at The Temperance Hall in South Melbourne needed more vocal projection and authority to command attention.

In 31 years of attending the Melbourne Festival, and seeing many shows each year, there is only one show that we have attended that has started on time.  Interestingly it was driven by technology and time.  The only show to begin on time was "Since I Suppose."

The use of mobile phones was a problem at “Under Seige” and “The Wrap”.  Also the talking from the audience during “The Wrap” begs the question why people went to the show.

My Favourite show:

My favourite shows this year are hard to split as they all received a 9/10.  Though I think “Germinal” was the best for its emotional connection.  This show obtained a 9/10.

Even though “A Requiem for Cambodia: Bangsokol” obtained an 8.5/10 it was also the most emotionally engaging show with  “Germinal”.

Dance wise I think “In Plan” used technology in a more appropriate and balanced way than the over produced “Tree of Codes” where the technology took focus away from the dancing.

Congratulations to Jonathon Holloway and his team at the MelbourneFestival for the second best festival that I have attended.  The best was his 2016 festival.

Overall the 2017 MelbourneFestival gets a mean average of 8.029/10.  This is a great score that had a consistently high standard and we only saw two shows that brought this score down.

Show	Score
Backbone	9
The Inauguration	9
Voyage of Time	7.5
Under Siege	8
Black Rider	8.5
Dark Circus	9
All of My Friends Were There	8.5
Caravan	8
The Season	7.5
A Requiem for Cambodia: Bangsokol	8.5
More Up A Tree	5
In Plan	9
Ever	7
7 Pleasures	8
Tree of Codes	9
Germinal	9
Taylor Mac: The Wrap	6
Total	136.5/17
Average	8.029

Germinal, L'Amicale De Production, Malthouse Theatre's Merlyn Theatre, Melbourne Festival, Saturday October 20th 2017

Germinal, L'Amicale De Production, Merlyn Theatre at The Malthouse Theatre for the Melbourne Festival, Saturday October 20th 2017

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 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.

"Germinal" was presented by L'Amicale De Productions with concept and direction by Halory Goerger and Antione Defoort at the Malthouse Theatre's Merlyn Theatre for the Melbourne Festival, Saturday day October 20th 2017

"Germinal" is a very clever piece of theatre that provided a heart and an emotional connection that is so lacking with many theatre productions.  My heart and body is full of electricity after the show.

The opening was playful with the lights going down then tricking us by coming back on.  This lighting sequence was repeated and then went to black out.  The lights came up slowly as if from Genesis and the beginning.

Four people were revealed on stage playing with equipment sliding levers.  Halory Goerger appeared to be having difficulty which could have been a part of the show as he announced this should not be happening.  We are having a few technical difficulties.  A stage manager appeared and they played around with some levers and looked up at the lights and up to the technical crew as adjustments were made.  This disruption could easily have been a part of the show as they were discussing the technical issues as a metaphor about the origins of life - as to whether it was science, creationist, or another possible theory.  I thought that this disruption was a part of the show and loved it.  Though the running time was more than the allotted one hour and twenty minutes that suggested it was a genuine technical hitch.  I would keep it in for the philosophical question.

The banter between the actors is so funny and thought provoking.  Halory Goerger, Antione Defoort, Arnaud Boulogn and Beatriz Setien are brilliant as they work together seamlessly.

They gradually introduced thought, objects, language and so many aspects of life.  The thoughts were written on the back in what could be described as text boxes.  This was very playful with the four characters introduced but only two text boxes were available for writing their thoughts.  They were using their control panels to express their thoughts.  The sequence built organically with structure to allow for various thought processes.  They even played with the concept of ventriloquism and being able to throw their voices or thoughts.. They played with the concept of defining who was speaking as if writing a script and naming the person who was speaking.  They gradually got rid of the control panels.

Beatriz Setien at one stage obtained a pick axe and cut a hole in the stage to reveal a microphone.  An entire sequence followed about finding sound and their voices.  Whoever was holding the microphone had the control and the power.  The discovery of any new object was fascinating and childlike as they tried to make sense and understand what, how and why things worked.  The playfulness of the microphone to tap it and discover that it made a sound intrigued them.  This led to the tapping of the microphone on various objects including each other's head to discover the famous "poc poc" sound.  They played with the microphone tapping it on every object that they had already found.  This was a recap sequence that was so much fun.  Some objects did not make a sound when they used the microphone as in tapping the empty hole.

Using their new found wisdom they began categorising their thoughts as "Poc poc" or "Non poc poc".  It became an academic exercise in the absurd and made fun of any meeting or process.  In particular it created their version of the Johari Window.  "Poc poc" and "Non poc poc" will become in-jokes as was the phrase "Could it be? Could it be?" from Ronnie Burkett and his puppet shows at previous Melbourne Festivals.

The opening sequences of "Germinal" reminded me at times of "Gilligan's Island" or any film/story where the characters are stranded and have to discover their environment and learn how to survive.  Here the cast of "Germinal" were learning about how to make sense of their environment, and as such was deeper than the superficial survival skills.

A guitar was discovered and more antics followed to learn about this unusual object and to learn about musical concepts: rhythm, pitch, timing and harmonies.

They played with singing as a means of communication that suggested musical theatre and opera.

A laptop was discovered to provide order and assist in categorising their findings.  It was a great play on the Microsoft Windows Word format with headings such as Display, Environment, and Language etc.  They played with each of these categories, for example the environments of Forest, Swamp were discovered.  When playing with the language option they started speaking in Japanese.  This was clever and so entertaining.

The setting was three side black walls and a raised stage that was divided into dark grey cubes.  These could be destroyed at will for when the axe was used to reveal the microphone or the pulley system to reveal the sound speaker.

They discovered what could be a pool of water that looked like a spa bath.  One sat in the pool, another dived into the pool and the others then also got in.  They found electronic drums that they played with to introduce other concepts of anger, denial, negotiation etc. This section was like the five stages of grief.

I loved the summary at the end when the "End" was nigh.  The cast summarised the whole show with the aid of all of the words that we were introduced to throughout the show. They created a rhythm and a chant as they played their electronic musical drums. 

"Germinal" is a very thought provoking work that is extremely entertaining.  At no time does it try to dictate to us but rather gets us to think about concepts.

We were lucky to attend a Question and Answer session convened by Matthew Lutton, the Artistic Director from the Malthouse Theatre after the show.  I had to share with them after I heard they do not have theatre backgrounds about "The Serpent" by Jean-Claude Van-Itallie and directed by Joseph Chaikin at the Open Theatre in New York.  The opening sequence of light reminded me of the Genesis section from "The Serpent" from a production in Melbourne directed by Norman Southerby in about 1975.

"Germinal"also reminded me of a live version of aspects from "History of the Universe in 2 Hours" shown on the History Channel.

"Germinal" is a celebration of life and freedom as this cast muse and ponder on the meaning of many concepts, particularly when they summarise the whole show as if in a spa bath.  "Germinal" feels joyful and grateful for life and existence.

"Germinal" obtained a 9/10 and my partner gave it a 9.5/10.

"Germinal" is a great companion piece to this year's show  "7 Pleasures" from the Genesis perspective.

Tree Of Codes, State Theatre, Arts Centre Melbourne, Friday October 20th 2017

"Tree Of Codes", State Theatre, Arts Centre Melbourne for the Melbourne Festival, Friday October 20th 2017

"Tree Of Codes" was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 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.

"Tree Of Codes" choreographed by Wayne McGregor was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 2017

In preparing the theatre, the EXIT signs were covered over as the reflections would interfere with many of the illusions.  When leaving the theatre after the show, the step lights had been covered over so as not to destroy the visual illusions of the reflections.

Sections for "Tree Of Codes" included:

The house lights dimmed and went down.

Lights illuminated from either side of the stage into the audience.

The lights dimmed on each side of the stage.

An orange spot light focused on my partner.  Friends of ours that were sitting in S Row, thought he was going up on stage as the light was so prominent on my partner.  They said it was spooky.

Darkness fell.

Dancing dots appeared on stage that reminded me of a troupe that I had seen recently on "America's Got Talent".  Maybe this troupe had been influenced by Wayne McGregor's "Tree Of Codes".  If so, this troupe showed the wonderful influence of Wayne McGregor, dance and technology via their contribution on mainstream competition on television.

Ten silver shapes on black stands were wheeled on in a blackout.  Each mirrored silver shape had a central hole.  A hand appeared through each of the central holes to show the different reflections, and to distinguish that each of the ten shapes had a different hand as they each did different movements.  Then they would trick our perspective by sometimes having the ten hands perform the same actions.  They would then alternate between individual and synchronised movements.

The lights came up slowly from a dark stage to reveal a stage-width-and-height-sized-mirror that hung upstage.  You could see the audience in this enormous mirror that was reminiscent of "Music and the Mirror" from "A Chorus Line".

The orange spot light returned and this time the images were reflected and appeared on stage in a large mirror upstage.  This orange spotlight moved throughout the theatre to show the reflection on the mirror.  You could see the reflection of the light in the mirror and where it focused on audience members.

Two dancers in nude briefs did a pas de deux in front of the mirror.

Then four dancers did a pas de quatre in front of the mirror.  We were gradually building the challenge to our perception of the perspectives of what we would see.  We questioned ourselves about what was real and what was being reflected.

Then twelve dancers danced various combinations.  Rarely were more than two dancers doing the same moves.

The back mirror shape changed.

A bank of red fluoro type lights was flown in to show the reflection in the mirror.

Another mirror wall was flown in downstage and two female dancers danced in front to show us their reflection in this new mirror.

Then a sole dancer danced in front of the downstage mirror and another dancer danced in between the two mirrors.  This showed the different types of reflections in the front mirror and the dancer in the middle had multiple reflections.

There were then variations of this theme with all of the twelve dancers in different combinations either in front of the downstage mirror or in between.  More colour was used in the t-shirts and costumes to differentiate the dancers behind the front mirror to those wearing plainer colours in the downstage area.  This was again to play with our sense of perspective to create a sense of reality and comfort, and then to distort our view.  The whole show was a human kaleidoscope that gradually built up with gradual changes pulsating and interspersed with reality checks.

This sequence finished with a dancer in the front dancing with a dancer in the middle section.  It was a pas de deux with a mirror in between.

The back mirror had a semi circular light outline.  Eventually this was moved as the mirror changed shape to allow the dancers entrances either side of the mirror.   Depending upon where you sat in the theatre, it appeared that the dancers were coming out of a potentially cracked mirror.  This was another play on our sense of perspective.

Dancers danced downstage and the back mirror was manipulated in such a way to distort our view as if the dancers were in full view downstage and their reflections appeared to either be on a raked stage or dancing in a pit as their bodies disappeared.  To challenge us even more was when one or two dancers would walk across this middle section and be fully visible while the reflections of others were disappearing below or raised up.  This was very similar to Cirque De Solei's "O" in Las Vegas where the performers appear to be walking on water, or walk into the water until they are fully submerged.  Visually it was stunning and challenging as I watched two large white-ish coloured pulley systems counter balance the rear mirrors to distort our view.  Very clever and sophisticated technology was used throughout the show.

I was so curious about the location of two banks of red lights that I could see in either side of the mirror.  I turned to see where they were located in the theatre and could not see them.  The reflections were so distinct on either side of the stage and it was magical to not be able to find their origin.  I am still in awe as to where they originated.

When debriefing with my fellow seven audience members who sat in different sections of the audience, those in the "S" row could clearly see these raked and disappearing illusions while friends sitting in closer seats in "C" row missed this illusion.   My cousin who flew from Sydney to see the show sat in "K" row and was able to see the raked stage illusion. We sat in "BB" row which in some ways was too close but in other ways was fascinating.  My partner, sitting next to me, could not see this rake or sinking illusion.  I would like to see this show again further back.

A larger mirror full of many rectangular panels and two large circular panels flew very close to the main curtain.  There were hinges to be seen and I knew something special would occur.  These two large circles began to rotate slowly within the large mirrored panelled wall.  The circles reflected images and lights into the audience and onto the back cyclorama blue wall.  These large circles then rotated in the opposite direction.

The orange spotlights returned as small lights from the back wall.  They intensified their light and shone again into the audience focusing on individuals and the reflections appeared on the mirrors.  At the finale there were two large orange reflections of audience members on the back wall.

Wayne McGregor's choreography was beautifully realised by the sublime dancers with superb technique.  I am curious about any influence or relationship from Laban notation, Benesh notation or Trisha Brown with her diagrammatic score (a numerical-spatial-cube) from "Lotus" (1975).  At times the choreography reminded me of the computer generated versions of all three.

The dancers were incredibly fit athletes with consummate artistry and technique.  Their extensions were so high and their rond de jambe en l'air were dynamic and powerful as they sliced the air.  Their attitudes derriere were exquisitely pure.  The pas de deux throughout were solid, secure and electric.

The dancing was sublime but the choreography at times felt repetitive with the style.  I sound spoiled for choice with such incredible performances but I have seen a lot of good choreography and thought there was something missing.  The pace had such a bland sameness that it highlighted the needed for some variation.  It could have been the textures and qualities were so similar rather than layering various qualities and timing.  There was a flow that seduced me but I wanted more depth of intensity of movements.

The audience was selfishly spoiled with the high standard of dance.  As such the choreography was overwhelming as there was too much action at times.  Wayne McGregor's choreography is so frenetic and unrelenting with no respite to savour sequences.  I begged for some simultaneous work or quiet times to allow for reflection.  As Stephen Sondheim, says: audiences need time to digest lyrics.  Here, the audience needed time to digest the choreographed movements. The audience was gasping for breath and needed time to breath.  When the pauses did occur they created slight trough between the constant peaks in dance.

By being spoiled with such incredible quality of dance, music and technology the audience can become a bit blase and expect this from every show.  I felt cheated at missing many of the incredible dance variations as there was too much happening.

Two female dancers, that look like twins, even with their blonde and pink hair, danced magnificently. When they danced together it challenged us again to question whether we were seeing double.

Music by Jamie XX was pulsating and engaging.

The Visual Concept by Olafur Eliasson, which included the lighting and design, was sensational and at times overwhelming that detracted from the dance.

"Tree Of Codes"  is based on the Jonathon Safran Foer book "Tree of Codes" which is based on the "Street of Crocodiles" by Bruno Schultz that was made into a short film.  Scissors hang from above in the short animated film.  I wonder if "Under Siege" designers obtained their scissor designs idea from this short movie.  Either way there are two shows that have hanging scissors imagery - one on stage and the other on film! 

"Tree Of Codes" provided a good companion piece to "More Up A Tree" with the mirrored cube that played at The Substation.  "Tree Of Codes" focused so heavily on the technology that at times drew focus away from the brilliant dancing.

In some ways I think the State Theatre, Arts Centre Melbourne was the wrong venue and needed to be at a similar venue to the Park Avenue Armory in New York.  I question the use of the State Theatre as the most appropriate venue when I looked at the Park Avenue Armory time lapse photography of the staging set up from Wayne McGregor's brilliant site.

The videos provided on Wayne McGregor's site allow the audience to savour their experience and this is what I mean about a holistic experience.  The Wayne McGregor's site allows the audience to be prepared and anticipate an event in conjunction with any advertising and marketing before attending a show.  We can then experience the show and then revisit the Wayne McGregor's site to reflect and be informed or educated.

"Tree Of Codes" was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Friday October 20th 2017

"Tree Of Codes"  obtained a 9/10.

7 Pleasures, Mette Ingvartsen, Playhouse Theatre, Arts Centre Melbourne for the Melbourne Festival, Thursday October 19th 2017

"7 Pleasures", for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, Thursday October 19th 2017

"7 Pleasures" was presented by Mette Ingvartsen for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, on Thursday October 19th 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.

"7 Pleasures" was presented by Mette Ingvartsen for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, on Thursday October 19th 2017.

The seven pleasures could be related to the Laban eight basic efforts of Press, Thrust, Wring, Slash, Glide, Dab, Float, and Flick.   There could be the underlying rhythms or aspects of effort involved.

Alternatively the seven dance movements: plie to bend, releve to rise, etendre (tende) to stretch, saute to spring, glise to glide, elance to dart, tourne to turn were also apparent throughout the piece.  An eighth is battu to beat.

The seven pleasures could be your seven favourite aspects and what you see in the piece.  It could be your seven fetishes or indulgences.

I could see many people comparing this show to the most obvious seven deadly sins, and that would be another perspective to this work.

This work is very clever as you can see it from so many different perspectives: the seven virtues, seven deadly sins, and some will laugh and say you could even see the seven dwarfs.  That is the beauty of the Melbourne Festival  as it opens us to discussion and challenges us.  For these reasons, this show, "7 Pleasures" is pure Melbourne Festival fare at its best.

Waiting in the foyer I noticed people appearing from a corridor wearing casual clothes,  They were obviously some of the dancers,  and they could have mingled more in the crowd and not been so prominent standing in small groups.  Also some should have been wearing more formal attire or suits to actually surprise and challenge us when the big reveals occurred.

The house lights were still alighted when gradually some of the dancers pretending to be audience members would begin to undress.  They were the dancers.  Some were seated and a few stood in the aisles.  We had a guy in our row and one seated in front of us who began to undress.  They moved to the stage and formed a group overlapping on top of other dancers upstage right.  A lady behind us stood and took off her jacket to the surprise of her friends and received a welcome laugh.  Imagine if someone from the audience did join in?!

There were three distinct parts to the show.  The first had the dancers stripped and then formed a unit and moved as one across the stage, over the settee, under and over the table.  They proceeded to merge with a lady who was sprawled out over the lone black lounge chair.

The first section was a discovery of self and others as the dancers mainly had their eyes closed.  They were like new born babies discovering their bodies and adjusting to their new environment.

There was an extended section where the dancers were dabbing, rubbing and patting each other.   At times it was very blokey and sporty as if in the showers after a football game, using congratulatory slaps and pats of encouragement.  In some ways it reminded me of the kindergarten song about how each body part is joined together in "Dem Bones".

The contact work requires enormous trust and relaxation to be able to support another person.  Any tension can be disastrous.

Another phrase had the dancers all rolling back and forth across each other.

A phallic shaped cactus sat just off centre stage to the downstage right.  A woman licked the cactus leaves as if exploring her taste bud sensations.  It looked quite dangerous as the leaves appeared to be quite sharp.  Later a man repeated the licking of the leaves which is both the kinaesthetic and taste sensation.

The group all disbanded and went their separate ways.  One went to the back beaded curtain, another on a thick rubbery looking mat, another to the cactus, others to chairs.  Each was finding their individuality and expression.  The lady explored the mat's surface by stretching out and then rolled herself into the mat as if a caterpillar was forming a cocoon for a beautiful butterfly to emerge.

There was a section with metal cooking bowls.  Tapping and being used in so many creative ways.

A section included more ecstatic movements that culminated in a build up to a release or orgasmic conclusion.  No sexual penetration as it was tantric in their bouncing up and down on the spot.

The second section where the lights dimmed represented the after glow or the "little death" (la petite mort) with sensual activities of rest, relief or satisfaction.  This was genteel, caring and sensual. The lighting of a post-coital-cigarette action (as per the classic movies) was missing.  Cleansing a body by one couple was included which also drew strong links of love and mortality when washing a dead body.  Each dancer had their own actions and gestures during this contemplative section.

Two orange ropes hung from the lighting-rig-beams above and counter balanced each other.  A dancer was pulling on the end of one orange rope and a light came on at the other end of the orange rope.  It turned out that there were lights at the ends of the ropes and it could be the inner afterglow of sexual activities as a "light bulb" moment of an orgasm.  On stage right the long haired man was using his mouth to engage with the ropes and tying it around his neck.  Someone behind me groaned in recognition of his simulated auto-erotica-asphyxiation.

Silver balls were placed on dancers' backs as they arched and rounded their backs to allow the silver ball to trace their spine.  They were balancing the silver ball and not allowing it to fall off their backs.  They were like pin ball machines and rewarded for their achievement.

There was a section that I called "Prowess" where each dancer was using an object to show they had the biggest or best accoutrements.  The young man used a long black tube that could be demonstrating length.  Another was using a chair, while someone else was using cushions to boost their sexual advantage.

There was a section that replicated masturbation or self pleasure.  It was very indulgent with each dancer using a technique individual to their character's needs and desires.  Images of rope pulling simulated masturbation.  While the tug-of-war duo simulated mutual masturbation.

Some of the dancers stripped off items of clothing as others put these items of clothing on as if second hand clothes.

This was the only section where I remembered actual groping of breasts.

There was a moment when some of those wearing black would pull down their pants and expose themselves.  One guy looked between a woman's legs as her pants and underwear had been pulled down.  He was peeping through her legs that framed the action of other dancers.  There was so much action happening and too many places on stage to watch.  Sadly, I missed how the lady who had been tied to the underside of the table had been released.

Parts of this section were quite brutal when they used cushions to smother another dancer or catch them.

There was a section where the dancers were engaged, pulsating or writhing with objects.  Sometimes it was very funny.  Other times it was inventive and held our curiosity. It could be simulated sex or even new and possible fetishes. As per the title, we do not know what are your personal seven pleasures?

The final section had half the ensemble put on black clothes.  It was very discriminating and excluding as the naked people were outcasts as they were relegated to the the large settee and showed us their bums.  The final section of wearing black involved six bodies laying over the top of the settee as they were observed by those wearing black.  Those showing their bums was punishment as if they were on display and showing their wares to be auctioned off in the slave trade or as meat in a butcher's shop.  Those in black stood and observed as if keeping guard.  It could be the pleasure of denial.

Dancers swapping clothes was simulating cross dressing and it could mean many other things.  The changing of clothes could be submission and an order to  dress in a particular way to be accepted. It could have been the uniform - as Melbournians wear a lot of black!

The final section involved the cast creating a robot or machine with sounds.  The sounds included the mmm of pleasure and the oohs and aahs with the orgasmic type squeal of satisfaction.  The lady who made the squeal sound moved into the audience as the ensemble holding cushions and other items stood in a row across the stage.  The lady climbed over the seats in the audience.  I was prepared to repeat the sound "nuh" if needed. Thankfully this was not required.

These sounds were harmonious and showed satisfaction and appreciation.  The sounds were animalistic revealing that humans too are animals and have sexual needs.  These sounds were of communication and mutual respect to identify and direct your attention.

Enthusiastic applause followed as half the cast were still in their birthday suits.

Sir Robert Helpmann had famously said about body parts "The trouble with nude dancing is that not everything stops when the music stops."  He was so right with the men in particular with the "top dog" or "alpha male" standing on a large black box vigorously moving and his manhood on display.  This alpha male received a lot of audience attention!

After the house lights came on a gentleman called out "The next performance is in Saudi Arabia" and someone responded "Very funny!"

"7 Pleasures" was not for everyone as one person left after about forty minutes and then about eight people left the show at about the one hour mark.

"7 Pleasures" is a challenging work as it makes you think.  The work could be divided into the three sections of birth, death and rebirth.  The birth was simulated via the entry under the table, or over the table as in a caesarean birth.   The second section was like a rest with la petite mort.  While the last section was a rebirth and remaking of the society which drew parallels to fascist regimes such as Hitler as they wore the black uniforms.

The show could also be perceived as the seven days of creation from Genesis.  The following is a very rough example of the Genesis perception.  Day one: the house lights were on and then they dimmed as the dancers took their position upstage right. Day two:  the dancers went their separate ways to discover their senses. Day three: they gathered together (maybe in an orgy).  Day four: dividing the day from night with the use of the hanging lights section.  Day five: creation of different creatures. Also the monsters were created in the guise of the dancers in black appearing menacing.  Day six:  Be fruitful and multiply.   Day seven: a day of rest as the ensemble chanted and approached the audience ceremoniously.

Yes there could be many different, or some say, ridiculous interpretations.  The seven dwarfs of menopause could be another interpretation.  Whatever is your preferred interpretation the show stretches your thinking into new possibilities.  This show opens up discussion.

At first we felt a bit cheated as the show began at about 7.42 pm and finished at about 9.07 pm.  However, if you factor in the pre-show announcement when waiting in the foyer, this may have been the beginning of the performance with the dancers coming through and going to the toilets.  If so, then this makes it the advertised one hour and forty minutes.

There are so many wonderful memories about this show that I wrote words to remind me of different moments.

The  power of suggestion, the simulated sex was very graphic and in some ways was more confronting than pornography.  Do not get me wrong as the extreme puritans and even those opposed to pornography, who have not seen enough porn to judge my comments or assessment need to open their eyes.  I am not suggesting that this show is pornographic but opens up discussion of how society is exposed to so many suggestive possibilities and to subliminal messages in the media, advertising and literature.  It got me thinking how we sexualise society from such a young age.

I wish someone would elaborate on my offerings and different perspectives, as analysis of this show would make a great thesis for a dance or theatre student.  (If you do, please at least have the courtesy to quote this source!)

I would love to know the process of how they created and rehearsed this work.  How do you rehearse an understudy or replacement cast member?  I am fascinated by the process.  The cast must have some amazing stories about the reactions of different audiences from around the world.  Curiously, I would love to hear more of these funny, weird and different stories from the cast and crew.

This is a wonderful example of a festival show to challenge, and, potentially, divide audiences.

I could easily see this show again as I am in awe at their physical strength and stamina that was sadly lacking in another dance work at this 2017 Melbourne Festival.

"7 Pleasures" obtained an 8/10.

"Germinal" is a great companion piece to "7 Pleasures" from the Genesis perspective.