Colossus, Stephanie Lake Company, Fairfax Studio, Friday October 4th 2019

Colossus, Stephanie Lake Company, Fairfax Studio, Friday October 4th 2019

"Colossus" by the Stephanie Lake Company was presented by the Melbourne International Arts Festival at the Arts Centre Melbourne's Fairfax Studio on Friday October 4th 2019

"Colossus" choreographed by Stephanie Lake for her company suited the Fairfax Studio with its intimacy. This is one of the best dance works I have seen in 2019 but I have some reservations.

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.

I arrived at the Fairfax Studio and was longing to read the programme prior to entering the theatre.  At about 7.10pm I went up to a group of ushers and requested a programme.  They obliged and were preparing to hand out programmes in the foyer.  I was impressed that the female usher then stood at the base of the stairs handing out the programmes to new audience arrivals.

Stephanie Lake has created a good dance piece that should tour international festivals mainly due to the exciting structure of the piece.  It could be more exciting as some of the flow was broken from time to time.  There were some missed opportunities to allow the flow to continue organically.  Occasionally, the structure was anacoluthon as it rapidly changed direction.  The show was clearly divided into different scenes with lighting black outs in between.

As you entered the Fairfax Studio the fifty dancers lay faceup on the stage in a large circle.  This stillness was hypnotic as per entering the State Theatre last night to see the dancers all sitting in a meditative formation.  Here the "Colossus" dancers all had their arms outstretched over the heads and their eyes open.  Having your arms overhead for such an extended period is not comfortable. Well done as barely an arm or toe moved.  I was impressed with their meditative and disciplined opening pose.  Coincidentally, "The Rite of Spring" at the State Theatre on the previous night had the dancers sitting on stage for an extended time before they moved.

The fifty "Colossus" dancers laying supine in the large circle formation looked like they could be the Colosseum in Rome, a snowflake, or a pattern.  The opening image was powerful, assertive and commanding.

I knew they would begin with some small movements to warm up their bodies as they lay at least for ten minutes before the show officially began.  A drum beat announced the opening and the fifty pair of fingers curled in unison.  They rolled their wrists and other body parts. Their feet stretched, they curled up and then rose in a sit-up with incredible core strength.  They rolled down and did many stretching and flexing movements to prepare for larger movements. They arched their backs in unison.  Flexing and stretching hands,  or bending and stretching elbows were respecting the dancers' bodies but also ensuring the audience were attuned to what was to follow.  Stephanie Lake in this opening sequence created a solid contract with her audience to invite us into this world of "Colossus".

The dances, as I predicted would roll up through the spine to walk.  They created a crowd formation and then the first soloist appeared in the centre of the circle,  She pointed and directed the circle.  Mexican Waves of wrists rolled around the large circle.  We then were treated to so many "illegal" Mexican Waves of heads to the right and left; arms raised and bent: legs raised and bent; rolling, twisting and swaying from side to side.  This was sheer brilliance in structure as it built momentum.

The Mexican Wave then split upstage (at 12.00 noon position) to continue down each side to finish at the centre downstage (6.00pm position).  This was repeated a few times.  This is where it jolted as the two Mexican Waves should have crossed and gone in the opposite directions to build momentum and continue the flow.  This is one section that could be expanded.  Do not get me wrong, I loved it, but it jolted as if anacoluthon.

The dancers moved to the sides to frame the action.  I actually found the crowd formations in many ways more interesting than the solos, duos, trios, quartets, quintets, sextets, etc.

The ensemble gathered around and sweep up the first soloist to reveal the second soloist.  She stood centre stage as the ensemble moved into two groups each side.  This soloist became a conjurer as she controlled the forces of energy from either side.  Ying and Yang spring to mind as the dividing image.  Here she led each group to follow her directions as a conductor, a dictator or guru.  They followed with some really interesting formations and movements.  The ensemble followed her lead with varying levels of intensity as directed.  Sometimes the tempo challenged the ensemble.  The two sides ebbed and flowed to her commands.  This was another strong piece of choreography, although very academic in approach, I was enthralled.

A section of window wiping lower arm moves really challenged the capacity of the dancers.  This is where you could tell those who had a strong core as they chopped the air with their window-wiping arms, while some could not keep the pace, let alone accelerate as directed.  This did not bother me as the effort of the individual was being supported by the masses.  The effort is what I really admired.

So many different formations were created.

These are not in any particular order:

Tap Dance sequence was very much like "42nd St" as the ensemble performed time steps in varying degrees of competence.  A small group began and then swelled to the entire ensemble doing time steps in the manner of class or an audition.

Marching groups occurred.  One was as if from a scene in "Evita", another like a Surf Life Saving Club doing marching drills, and another as if performing their Calisthenics Club routine.  I loved the marching sequences with the slapping of the thighs to create rhythms.  Maybe a bit more musically challenging rhythms could have expanded this section.

Rescue scene where a guy was brought into the group that then developed into a mob scene.

There were fun bits too - with the Bollywood style "Light Globe turning" sequence.  A bad joke is coming: How many dancers does it take to change a Fairfax Studio light globe?  Yes, 50!  I was beaming inside and with a huge smile in the front row as I loved the joy in this section.

Class Photo sequence as the dancers lined up in formation of a class photo, or a graduation shot, or a Grand Final portrait of a football team.  The ensemble then followed the directions - maybe the teacher, the photographer, the historian - it does not matter who.  They followed the directions of opening and closing mouths, looking up and framing their faces etc.  Interestingly, the looking up sequence should have begun with just the eyes looking up first before anyone lifted their chins.  Little tweaks will strengthen this work.

Window wiping sequence consisted of the splaying of the lower arms that was similar to Brad and Janet driving in the rain from "The Rocky Horror Show".    Some dancers struggled to keep up as the tempo accelerated.

After a duet, the ensemble reformed from the boundaries of the stage and performed duets similar to a dance or an American Prom.

A party scene had the ensemble mingling with low, indistinguishable conversations as individual dancers' worked-the-room in the crowd.

My favourite part was what I shall call the RETROGRADE sequence where the ensemble moved from stage left to right.  First a lady, then two men who did a short throwing pas de deux, and the rest of the ensemble followed in their own combinations.  This whole sequence was reversed.  It was danced backwards - which is called the RETROGRADE.  They did this retrograde sequence at least three times.  I loved it as my heart was beating at the excitement that they created as an ensemble.

At times, the work reminded me of  the umbrella scene from "The Concert" by Jerome Robbins.

There were times when "Colossus" reminded me of  Maurice Bejart's "The Competition" that was performed by The Australian Ballet in 1989. 

Another section reminded me of the swelling crowd scenes from Natalie Weir's "Carmina Burana" performed by The Australian Ballet in 2001.

These comparisons are a compliment as the pulsating and swelling crowds revealing moments of interest are common in all of the works mentioned.

There were moments that reminded me of birds murmuration.  I wanted an obvious flying bird murmuration sequence with arms outstretched as there was one brief moment that had a glimmer of "Swan Lake" style flock.  It reminded me of the sensational Peter Brook's version of "The Conference of the Birds" where the birds would hover and swoop from a great height, that was presented at the HSV7 Teletheatre in Fitzroy in 1980.   This is where birds murmurating was choreographed with exquisite detail.  Visually the sense of  height was lacking in "Colossus" except with the use of the lighting and shadow effects on the back wall; and the two men with the throwing lift from the retrograde sequence.

Many times I watched the ensemble as they observed the soloist or duos or trios perform.  It was interesting to watch those who looked into the audience to espy a friend or the reaction of the audience compared to those who concentrated on the central action.  When those who saw me looking at the ensemble, they quickly diverted back their concentration to the central action.    This Greek Chorus of observation is crucial to ensure the energy is directed to the central point as otherwise it breaks the flow of the work.  The swelling of those concentrating supported the central action to a higher plane than those who sat back and relaxed.  The ensemble is that - an ensemble - to create a unified atmosphere or experience.  These brief moments elevated the work and I longed for more.

The ensemble left the main stage for the finale, leaving a soloist to conclude the show.

These dancers should be proud of being in such a good work.

I could see "Colossus" by the Stephanie Lake Company again.  Even though the quality of the dancing was not necessarily the best contemporary dance I have seen, it was the ensemble's qualities and atmospheres that lifted this work.  Some of the soloists lacked the qualities and finish that I saw from others in the ensemble.

Overall, I gave "Colossus" and 8/10 while my partner gave it 7.5/10.

Follow up:

I could see "Colossus 2" with scenes of pedestrian behaviour, football crowds, protest crowds, Hari Krishna rituals, celebratory parades, The Hajj at Mecca, Boxing Day Sales crowds, queuing up for a new produce; queuing up for the latest book launch; queuing for the latest technology; camping out overnight for tickets to the Grand Final; Bison stampede; African elephants stampede; other animals stampedes; evacuations etc. There are possibilities to include protest marches or protest sit-ins, panicking crowds, peer crowds and evacuations. There are so many possibilities for another version.

I believe Stephanie Lake could do an even better version.


After effects:

I had to press my ears during the show on a few occasions.  The music did not sound loud during the performance but I did feel the thumping went through my entire body.  Both my partner and I had ringing in our ears for four hours after the show.  I am curious if anyone else had a similar effect.

Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

Roots, 1927, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Saturday October 5th 2019

"Roots" by 1927 was presented by the Melbourne International Arts Festival at The Coopers Malthouse, Merlyn Theatre, and we attended the performance on Saturday October 5th 2019.


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.

"Roots" by 1927 was presented by the Melbourne International Arts Festival after its World Premiere in the UK at the Theatre Royal, Margate in England on October 27th 2019.

Arriving at the The Coopers Malthouse had a more festive appeal compared to the drab un-festive Arts Centre Melbourne.  Banners advertising shows that would appear as part of the Melbourne International Arts Festival adorned the high ceilings in the lobby of the The Coopers Malthouse.  Congratulations as this complex made the effort to create a sense of occasion.

The programme outlined the background to the making of "Roots" and sadly did not list the stories for reminiscing after seeing the show.

1927  set various tones with their choice of stories from the Aarne Index housed at the British Library.

"Roots" consisted of about ten short stories that reminded me of "Fractured Fairy Tales" cartoons and also the twisted adult fairy tales by Gregory Maguire.  Some of the tales are funny while others are much darker in the humour.

"Roots" consists of animation and live action acting and music.  The actors lip-sync the voiceovers and they interact with the animation similar to Gene Kelly in "Anchors Aweigh".  The four performers play instruments and alternate in the acting roles.  The set design is integral to the concept as there are trap doors to allow the actors to poke their heads and other body parts through.  Live action combined with animation was also used in David Atkins' version of "Hairspray" where the set was projected onto about ten LCD screens.  The window opening and telephone ringing sequences from "Hairspray" were the most similar to "Roots".

Some of the stories included the cat who ate everyone and everything.  Stay to the end of the show for a great reference back to the first story.  This was easily the funniest story and audience members were bopping along to the song.  I love that song and want a copy.  This story reminded me of the "I Know An Old Lady Who Swallowed A Fly... I don't know why she swallowed a fly..."

"The Miracle Bird" used a simple set of a white flat where the projections would bring it to life as the back of a settee, or the base of a bed.  A dog in a basket lay stage right with the occasional murmur of movement.  The old couple wore wigs watching a television news item about a miracle bird.  The bird escapes and you can guess where it lands.  The antics are pure magic as we watch greed and jealousy at play.  This story plays with more pace variations and the animation is incredible from a timing perspective.  The performer's interaction with the animation is sublime from a spatial perspective.  The final twist of this story drew a great response from the audience.

"Patient Griselda" was a story about a King wanting a bride that met his very specific criteria. A great twist at the end drew lots of oohs from the audience for its contemporary theme.  We too were "patient" like Griselda as we were curious where this story was heading.

"The Ant Finds A Coin", "Three Wishes", "Poverty" and "The Luckless Man" were some of the other tales.    Each story had their own moral, with some being a little more didactic than others.  What let the show down was the sameness of rhythm and pacing.  The stories that succeeded theatrically the most were those that challenged with pacing, timing, presentation, and humour. Strong endings for stories also enhanced the experience.  The funniest stories received the most spontaneous reactions and applause.  The least successful stories received delayed or lukewarm applause/responses.

Costume Designs by Sarah Munro were simple and clever.  The musicians donned a new outfit for each story to compliment the action.  My favourite costumes included the King's outfit and the musicians wore elaborate outfits that could have been from the Sun King era.  The naked costumes were fun with the genitalia outrageously obvious in different shades and textures that could have come from a knitting or craft exhibition from the Royal Melbourne Show.

The costume for "The Unremarkable Man" was an adaptation of vaudeville half-man/half-woman-costume style visual joke.  Even though the visual "reveal" is a classic joke, the turn enface to the audience received a lovely response as the audience were surprised.

The white face makeup particularly for the opening story created a sense of a simpler era for storytelling.  The performers eyes were so important to convey not only the emotions of the characters, but more importantly their vulnerability as they broke the fourth wall to realise they were being exposed.

Compositions by Lillian Henley created a wonderful potpourri of music that differentiated each story.  I repeat I want a copy of the song from the cat story.  The use of different instruments gave a texture to each story.  These characters were on display at a human slave market with their stories.

Animation by Paul Barritt is a genius for the mathematical and spatial specifics.  More so, his animation created slightly different moods for each piece with the various styles of colour and animation.  The work required for the animation with the story and interaction with the actors is a phenomenal feat of planning and project management.  This co-ordination between all production departments leaves me in awe at their skills.

Writer and Director, Suzanne Andrade has created a terrific piece that I can see growing within the parameters of the set and animation design.

Lighting is paramount to the success of the show as spotlights grow smaller to focus on a character's face.   This vaudeville style lighting works so well in this show to open and close each story.  Childhood memories of "Looney Tunes" cartoons spring to mind with the use of the vaudevillian spotlights.

Our favourite was the opening number with the cat who ate everything.  The other stories were not as funny, but opened us up to different perspectives.

In hindsight, I think some stories were chosen from a personal resonance and were indulgent choices rather than bearing in mind the needs of the audience.  This is both a positive and a criticism as I admired the choices as being personal.  I would love to know why each story was chosen.  This level of detail would engage with me more as it would take an audience on a deeper understanding of 1927's work.

I thought we had seen this company before as we had seen a similar theatre company before at the 2017 Melbourne International Arts Festival using animation for a show called "Dark Circus" by Stereoptik.   This is why we bought tickets thinking that this was Stereoptik with the animation link.  We were still very happy that we saw the "Roots".

"Roots" obtained a 7/10.

Observation and post script about "Roots":

I could see this company adapting Gregory Maguire's "Leaping Beauty".

I would also love a follow up with "Roots" whereby audience members have a code to explore more background information about the stories chosen for the show.  I do not mean an educational pack as per Matthew Bourne with "Lord of the Flies" but an follow up information.


Even though "Roots" had similarities to the Seven Deadly Sins,  I would love to see 1927 do a specific show about the Seven Deadly Sins.    I could see an education pack for the Seven Deadly Sins would be a great companion piece without being too much like theatre-in-education.

Note:

My links are not necessarily those that reflect the stories from the show.

A Quiet Evening of Dance, William Forsythe, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday October 17th 2018

A Quiet Evening of Dance, William Forsythe, State Theatre, Arts Centre Melbourne, Melbourne International Arts Festival, Thursday October 18th 2018

"A Quiet Evening of Dance" by William Forsythe was presented at the State Theatre, Arts Centre Melbourne, for the Melbourne International Arts Festival on Thursday October 18th 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.

I have seen examples of William Forsythe's work "Eidos: Telos" for the Frankfurt Ballet at the 2001 Melbourne International Arts Festival, and "In the Middle, Somewhat Elevated" by The Australian Ballet, and other works.

"A Quiet Evening of Dance" is a challenging work for non dancers.  Thankfully, I had read a lot of articles prior to seeing the show.  For those who did not read the programme prior to watching the show were a bit confused for the first act.  I had a gentleman come up to me at interval and asked what I thought.  I said it was basically the history of dance through time and I recommended that he read the programme and a few articles online.  I also said to him "I felt that an introductory talk for about ten minutes with a few demonstrations would have made it more accessible for the audience."  He agreed.

Do not get me wrong - I loved the show.  It was a bit didactic at times but was playing with our heads as dance history was being developed through the ages.

At times some of the moves looked as if the dancers were in a dance studio and using their hands as if marking the choreography to save their bodies.  There was the duality of this plus the deconstruction of movement.  Then there was the reinvention of using other parts of the body in place of the original body part.  When the first twist of the spine occurred I was taken aback with surprise and delight.  When the first saute occurred I had the same reaction.  These reactions to the first plie, step, turn, releve, bourrees etc made me appreciate the journey that dance have come on.

"Prologue" began the first act and paid homage to the court dances of Louis XIV.  There was an elegance and ritual.  It made me appreciate the dance history and historical dance classes with Margaret Mullins.  Thankfully, I was exposed to the codification of these historical dances by Raoul Feuillet.  It was as if the drawings were being demonstrated on the stage.

The first clap by one of the dancers created a startled surprise.  We were now being introduced to both music and time as the claps increased.

The crossing of the knees with hands had elements of the vaudeville knee and hand crossing trick.  The crossing of the arms over the knees later developed into the a slapping sequence that paid homage to the German Schuhplatter knee dance.

We were even exposed to the different ballroom styles of dance in a stylised way.

Later in Act Two, Christopher Roman used juggling with his lower arms upstage.  I have seen the photo of the original drawing and the name escapes me of the title.  The audience laughed in recognition of this famous drawing as Christopher Roman pas de bourree'd across the back of the stage whilst juggling his lower arms. This action immediately drew us to the origin of this step.

William Forsythe is genius as he has created his version of Darwinism or evolution of movement for the stage.  We were witnessing the birth of new moves such as the arabesque or the tour en l'air.  

The final diagonal of six dancers created a pathway for Rauf "Rubberlegs" Yasit who wove his way through the dancers.  His moves were a modern version of the classical solo en diagonale.  A bold statement shone through with - this is the future of dance - evolve or tradition will die.

I would love to hear William Forsythe talk about "A Quiet Evening of Dance".  In fact I would love to interview him and have a discussion as I am in awe of his work.  I would love to see more of his works.

"A Quiet Evening of Dance" obtained an 8.5/10.

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

Trustees, Belarus Free Theatre with the Malthouse and Melbourne International Arts Festival, Beckett Theatre at The Coopers Malthouse Theatre, Sunday October 21st 2018

"Trustees", a co-production by the directors of Belarus Free Theatre, The Malthouse Theatre and the Melbourne International Arts Festival was presented at the Beckett Theatre, at  The Coopers Malthouse on Sunday October 21st 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.

"Trustees" was written by Natalia Kaliada and Nicolai Khalezin, with Daniel Schlusser and the cast.

Before the Beckett Theatre doors were open, the cast came into the foyer.  They were recognisable as they all sported a radio microphone over one of their ears.  The show began when the cast mingled with the audience.  I knew from reading about the show that we were going to be asked to vote at a forum.

I was surprised that audience members were not immersed into the experience by registering, and being given name badges as attendees, for the forum.  This would have built up the audience's expectations a notch - as if really attending a forum prior to entry.

Directed by Natalia Kaliada and Nicolai Khalezin from the Belarus Free Theatre have created a work that leaves you with more questions than answers.  It is a thought provoking work but stirred up more issues that were not dealt with in the production.

The programme listed the cast and crew, though I cannot understand why the names of the characters were not listed as each character was designated a name.  It is easier to refer to the programme and name the character than to describe the role played by (insert a name) here.

Special thanks were made to Brad McEwan as the newsreader that provided segues and news updates between many scenes.  Sadly no further information was given.  I do not know what Dushan Philips' role in the production was, as no details were provided in the programme.

Movement Direction by Briget Fiske provided a range of sequences: dance moves, fight sequences and aerial counter-balance work.  The final image was the strongest statement in the show and is discussed in more detail below.

Lighting Design by Amelai Lever-Davidson helped create a variety of atmospheres.

No credit was supplied as to who created the videos or the graphics for the show.  Maybe it was Dushan Philips?  Maybe this was another of the unanswered questions for the audience to consider?

Set and Costume Design by Romanie Harper provided a range of costumes that were functional for the requisite behaviour of different characters.  The board room table with three sliding chambers was clever as it hid the shallow bath and two garden beds.

Banks of seating were positioned on all four sides of the opened Beckett Theatre.  Four white chairs in a diamond shape stood in the centre of the area.  Two chairs stood upright, while the other two chairs were tilted forward warning us of future events.

The set also comprised the use of a television camera in one corner with six television monitors above the audience.  Three monitors were positioned above each of the two longer sides of the stage.

The original cast listed in The Malthouse Theatre brochure for their 2018 Season changed to who actually collaborated and acted in the show.  I appreciate the cast list can be changed due to availability or other issues.  From a theatre history perspective I am noting this for future reference as I am sure many patrons are unaware of the change.

Acting wise left a lot to be desired as they all over-acted to the point of being cringe-worthy.  Had the cast been more naturalistic and evolved their performances would have made more of an impact.  I appreciate the show was a satire and the opening two scenes could have worked better with less is more.

The opening sequence where Hazem Shammas entered as the facilitator was nearly in-audible as his diction was so mumbled and his pace was so fast.   The over the top enthusiasm was nearly like a television games show.  

The other cast members were introduced as guests for the opening debate.  One actress was asked a question and she introduced herself.  She also asked "What was the question?"  This was doubly funny after her introduction and because Hazem Shammas was speaking so fast and with poor diction, I too could not understand the question.  Thankfully he repeated it.

We had the sham debate with four different perspectives.  Sitting on our side of the theatre is where I guessed the directors mainly directed the work.  There was a vote online with the television monitors displaying the website for voting.  I did not bother as I suspected it was all a hoax vote.  Audience members were adamant to vote and have their say, which was interesting as it highlighted the corruption in some societies with voting.

The debate was naive and simplistic with government funded arts versus not funding the arts.  The debate revealed a lack of business acumen from the collaborators.  They did not debate or reveal any other business models for artists, and showed a narrow view and a lack of financial and business management from the collaborators.

A television news broadcast would appear from time to time to create segues between scenes.  We were being exposed to fantasy versus reality - fake news etc.  What is fake and fact?  What is perspective or a different slant on a story?

The second major scene was a board room for the Lone Pine Theatre Company and trying to work out ways to survive.  This was demonstrated as a brainstorming activity with lots of feet on the table and power play. Many of the ideas of various theme parks had a contemporary reference to the television show "Westworld". 

The ideas were under-cooked at times as they did not fully explore possibilities. 

There were some wonderful images through the show that I felt made more of impact with the less is more approach.  

My favourite image was when Daniel Schlusser set the table ablaze.  We witnessed the impact of the "slash and burn" with the funding/budget cuts to their theatre company.  I recall looking up to see both exit signs when Daniel lit the flame on the table top. A table cloth was produced to douse the flames.  The actors were cognisant by ensuring that all embers had been extinguished.  I congratulate them on their safety concerns. 

Natasha Herbert set out the serviettes for each seating placement.   Her eagle eye was checking to ensure no flame had reignited underneath the tablecloth.

The board members covered their faces with their serviettes as if veils had the cultural subservience element.  Here the artists were subservient to the government, funding bodies and sponsors.  This was another strong image.

When Daniel Schlusser stripped bare exposing himself physically and emotionally, he was also revealing how artists are publicly put on display.  This scene also showed how financial transparency is important within funding.  When he is bathed in the centre of the table it has religious undertones of a baptism or a re-birth, or being cleansed and purified to complete the funding applications in accordance with the whim of the next government policy.

Natasha Herbert suddenly could now walk without the aid of her walking stick.  It was a miracle! Or was it?  She sat and took out an avocado, cut it in two and stabbed the seed to extricate it.  She then placed the seed into the wooden fruit box.  This was a wonderful image of planting the seeds into a treasure chest.  She sat and spooned out the contents of half the avocado.  Again this was a wonderful image of the younger generation being criticised for eating smashed avocado, rather than saving for a deposit for their future home.  This image also referred to the waste of money given to some, and living in the now.

When Natasha Herbert planted the poppies into the soil at the two ends of the table it was as if she was planting seeds of ideas.  She was nurturing, cultivating, and growing her crops for the future of Australian society.  She needed to water the plants, and water is a scarce and valuable resource - as is money for the arts funding.  Her story contrasted the freedom we have in Australia compared to Nazi Germany.  In fact, her story paid homage to all totalitarian regimes of the past, present and future.

Tammy Anderson also stripped.  She moaned and groaned as she made her way around the entire stage to ensure that everyone in the audience could see her nakedness.  She mixed powder with the water, and then smeared herself in white paint ceremoniously.  She seemed to be providing sexual favours for her art.  Nothing is new about the casting couch with the "Me Too" movement.  She provides Daniel Schlusser with the table-cloth to cover his wet body both as a towel and with the toga image from the Roman Forum.  (Remember we are attending a forum and now gaining insight into the five characters via their monologues).

Interestingly, the costume design included only one pair of coloured shoes.  These were the red shoes worn by Niharika Senapati.  The red shoes stood out as both power dressing, and also referencing the fantasy of Dorothy from "The Wizard of Oz" and wanting to go home to Kansas.  This was a clever piece of subtle costume design as there was a theme of homeland throughout.  The red shoes created a message of hope for the future.

Niharika Senapati began as if Ellen DeGeneres interviewing audience members about "do you like audience participation?"  She would kneel before or sit on the knee of an audience member.  She went to each of the four sides of the theatre.  Then she proceeded into more audience participation with different dance moves for the four sides of the theatre.  We even were instructed in a Mexican wave arm movement.  She ran around the theatre first clockwise and then counter-clockwise to see the audience demonstrate this wave of movement.  She proceeded to dance until three actors entered and restrained her.  They held her down that produced a magical moment of cause and consequences.

My favourite image of the show was when Niharika Senapati was restrained by the three actors.  The three actors bound her feet into the ends of a thick rope.  The three actors pulled the three ropes to the section of rope with an obvious knot to ensure they did not lose their grip.  They then hoisted her upside down.  Niharika Senapati was lifted off the ground feet first as if an aerialist.  The image reminded me of an upside version of a physical reckoning from "The Handmaid's Tale".  More so, this image reminded me of how these theatre companies are being strung up financially and artistically.  It made me question: "who is pulling the strings here?" and "which of the three people has the most influence in funding, cultural and artistic decisions?" 

This scene was where the censorship theme was strongest as we saw the consequences of non-compliance or non-conformity.  I yearned for more of these type of succinct and powerful resonating messages as per this simple scene.

The five extended monologues were at times, as if they were all vying for their voice to be heard.  It was a competition for who had the most sensational or depraved story to lure us into potentially gain our empathy.

After chaos the five returned as if at the end of the debate.  The forum was concluded and left more questions unanswered for the audience to ponder.  This ending was an academic approach to leaving a question for the future.

The show rammed messages down our throats.  It was didactic and too long.  In fact it was ten minutes longer than the ninety minutes that was originally advertised on the Malthouse Theatre website.

The whole theme of censorship did not discuss enough about freedom of speech or freedom of thought.  It did not expose the elitism of some artists and arts boards or bodies with their own in-house censorship.

Will "Trustees" survive for another two hundred years as a work of literature or a piece of theatre?  No, it will be revamped into another format by new artists thinking that they are being innovative.   "Trustees" begs the question of whether this is theatre for now or the future.  This production is a contemporary piece of theatre with a limited life.  The arguments for funding and censorship will regurgitate throughout history and will create an opportunity for some playwright to create a timeless work.

With some refinement "Trustees" could be more cohesive and provide more articulate messages.

The arguments for funding and censorship have been around since nearly the beginning of performances.  What stood out is that we are lucky in Australia that artists are able to voice their work compared to other countries.

"Trustees" will make a good festival touring project to justify the Australian taxpayer's contribution to the arts.

"Trustees"  received a generous 7/10 from both my partner and I.

Note the following postscript is from my memories of seeing shows and interviews:

Postscript - historical memories:  

The play "Trustees" opened up my memory vault to write this post script.  Hence in the back of my mind I had reservations about the production.  The production made me think of the cyclical nature of censorship and how lucky we are in Australia to be able to debate these issues, compared to some countries where you would be jailed or sentenced to death for debating let alone presenting a controversial work.

There have been many plays and works of art that have caused controversy and campaigns or protests for censorship in Australia.  These include:

"Corpus Christi" was presented at The Athenaeum Theatre in January 2001 where Jesus Christ was portrayed as a homosexual.  Protests occurred outside the theatre at every performance.  I do not think this play would have been presented after September 11th 2001.  As such, it is amazing what a date can do to change perspective of a controversy and censorship.

Tivoli Theatre Melbourne where the topless ladies had to stand perfectly still or would be arrested by the Victoria Police Vice Squad.

 "Hair" both in Sydney and Melbourne, "Oh Calcutta", "Let My People Come", and "The Boys In the Band" all had the Victoria Police Vice Squad watching carefully to ensure that no breaches occurred.

The news of  "Oh Calcutta" being banned by order of the Supreme Court of  Victoria hit the New York Times in 1970.

The New Theatre in NSW even has a history of censorship.  The financial gains for a controversial work "American Hurrah"  by Jean Claude van Italie are also given in this link to the New Theatre.

There are many articles about censorship in the arts in Australia.

Sir Robert Helpmann even commented about the nude dancing in a ballet with two famous quotes:

• "The trouble with nude dancing is that not everything stops when the music stops."
• "I think you can be contemporary without taking your clothes off."  

Even amateur shows copped censorship with the following:

"Thurber's Carnival"  by James Thurber was presented with caution, as it was nearly banned, at the 20th Wagga Wagga School of Arts Drama Festival in 1974.  The play was controversial as the work was deemed inappropriate and lewd for the youth performing the work from Canberra Youth Theatre.

"The Serpent", also by Jean Claude van Italie was banned in Adelaide at a drama competition, and also was banned at the Kyneton Festival of One Act Plays in 1973.  An article written for The Age had the title "Hasn't Wagga Changed" by a journalist who did not see the play at Wagga Wagga.  The Age article alerted the Adelaide committee to a potential controversy.  In Adelaide, the director Norman Sotherby had also directed "Ritual For Dolls"  by George MacEwan Green and said to the adjudicator that "this play was more offensive" and yet was allowed to be performed.  In Kyneton the committee had a similar reaction.  The committee relented and allowed "The Serpent" to compete but was only allowed to be performed in front of the adjudicator, Simon Hopkinson, with no audience present.

Marketing leverage:

Some works of art have successfully leveraged off their controversy and potentially crossing censorship boundaries.

These include "Chloe" at Young and Jackson's Hotel in Melbourne where many articles were written about covering the painting over.

The famous "David" statue by Michelangelo and many other works of art have had articles written about it and covering up the genitalia with a fig leaf.

The famous controversy in Australia with the Bill Henson photographs, as well as the "Piss Christ" by Andres Serrano controversy where it was vandalised as a result of being offensive and sacrilegious.  As such these controversial works create marketing opportunities for organisations to leverage and cash in on their notoriety.

"The Blue Room" play by David Hare was produced both in Australia and overseas.  Nicole Kidman starred in the London production and is an example of the sensationalism of the nude scenes for marketing and publicity, which increased sales.

"Equus" by Peter Shaffer was another play that successfully used its controversial content and nude scene, with the stabbing and blinding of the horses.  This play received an "R" (restricted) rating in some cities in Australia.

There is a book called "Banned Plays" by Dawn B. Sova that outlines 125 banned plays through history.  She gives examples going back to 411 BC and even includes the Melbourne controversy of "The Boys In The Band".

Trigger warnings:

Trigger warnings are occurring more in schools, universities and the media. Trigger warnings are used for many reasons to alert students, patrons or viewers of any potentially distressing material or scenes - such as violence, sexual material, loud noise, cigarette smoking etc.  I understand also the medical consequences that strobe lighting, loud noises or smoke can affect some people.  I understand why trigger warnings are being used, but this made me think that the trigger warnings can be an example of censorship - by preparing audiences for a possible event that can dilute the impact of any message.

However the trigger warning signs prior to entry at "Song for a Weary Throat" were not successful as they should have made a vocal announcement before the show to allow patrons to obtain a set of headphones to muffle the loud crashes.  Many patrons covered their ears.  After the show a few people asked where we obtained the headphones, and they were shocked as they did not see the trigger warning sign before entering the theatre.

Re-Member Me, Dickie Beau, Melbourne International Arts Festival, Fairfax Studio, Arts Centre Melbourne, Wednesday October 17th 2018

Re-Member Me, Dickie Beau, Melbourne International Arts Festival, Fairfax Studio, Arts Centre Melbourne, Wednesday October 17th 2018

"Re-Member Me" by Dickie Beau was presented by the Melbourne International Arts Festival, at the Fairfax Studio, Arts Centre Melbourne, on Wednesday October 17th 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.

Created and Performed by Dickie Beau, with Collaborator and Director Jan-willem van den Bosch have devised a wonderful piece of theatre to honour many actors and directors of Hamlet.

Dickie Beau's research is impeccable to clarify some myths about some actors playing the role of Hamlet.

The Fairfax Studio is littered with de-constructed shop mannequins and costumes; there is a hard-copy of Hamlet spotlighted down-stage centre.  A wheelchair is upstage right.  There is a skull and crown centre stage.

Shadow play begins the show with Dickie Beau's silhouette projected through a curtain.  We are seeing the origins of theatre in this ancient shadow theatre as he sits on a hospital trolley and contorts his body into many different angles.  He prepares for the role of Hamlet as if preparing for a sporting event.  In hindsight he is preparing for his final role as if Ian Charleson is preparing for death, and possibly to be reincarnated.

In fact Dickie Beau channels Ian Charleson who took over the role of Hamlet when Daniel Day Lewis suddenly could not continue the part.  Dickie Beau provides the truth to the real story and clarifies what is myth.

He immediately gains the audience's attention with his lip-syncing Sir John Gielgud.  The shadow brings out every nuanced breath and mannerism of Dickie Beau.  He channels Sir John Gielgud, Sir Ian McKellen, and Sir Richard Eyre,   The research and physical differences between each characterisation is outstanding.  The breaths, gulps and other idiosyncrasies are all exposed, as they segue to each new thought by the different characters.

The show has a screen above the curtained area where four faces of Dickie Beau overlook proceedings.  Dickie Beau lip-syncs to each of the four different people.  The technical timing of sound, vision and synchronisation with Dickie Beau lip-syncing is superb.

There are some cultural modern gay references with different songs that bring immediate laughter from the audience.

Dickie Beau plays Stephen Ashby, the former dresser at the Royal National Theatre, who cleans up the mannequins and dresses them on chairs, and re-assembles the mannequins and re-dresses them again to create silhouettes.  The hospital style curtains are opened that add a clinical element to reveal the mannequins as if on display in a museum.  This reveal becomes more evident as potentially cruel exposing Ian Charleson's life and death on display.  It reminded me of the side-shows where you sneak a peek at something forbidden.

Ultimately, Dickie Beau is deconstructing and reconstructing both Hamlet and Ian Charleson.  The final image of dressing the mannequin of Ian Charleson in his pyjamas is very moving.  Placing the skull at the top of the mannequin's neck completes his body as if reunited with his soul of Hamlet.
Dickie Beau sits on a chair reading a copy of Hamlet as if a carer and protector.

"Re-Member Me" was produced for the Under the Radar Festival in January 2018 at the Public Theatre in New York and uses a more elaborate set up of sliding screens.  In Melbourne the screens are replaced with sheets that immediately grab our attention for the origins of shadow play theatre, and how they are used for privacy in hospitals.

"Re-Member Me" received a most enthusiastic ovation.  The audience were bolted to their seats as they were mesmerised by Dickie Beau's performance and could not stand to show their appreciation.  I did not want to destroy my appreciation by standing.  The cheers, hollers and clapping said it all - thank you for a wonderful performance and taking us on an incredible journey.

"Re-Member Me" obtained a 9/10 from both my partner and I.

One Infinity, Beijing Dance Theater & Dancenorth Australia, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Tuesday October 16th 2018

One Infinity, Beijing Dance Theater & Dancenorth Australia, Melbourne International Arts Festival, The Coopers Malthouse, Merlyn Theatre, Tuesday October 16th 2018

"One Infinity" a co-production by Beijing Dance Theater and Dancenorth Australia had its world premiere for Melbourne International Arts Festival, at The Coopers Malthouse, Merlyn Theatre, on Tuesday October 16th 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.

"One Infinity" was directed and choreographed by Gideon Orbarzanek, with associate choreographer Amber Haines.  a co-production by Beijing Dance Theater and Dancenorth Australia had its world premiere for Melbourne International Arts Festival, at The Coopers Malthouse, Merlyn Theatre, on Tuesday October 16th 2018.

Banks of seating were positioned at either end of the Merlyn Theatre with a large rectangular staging area in the centre.  There were four instruments placed towards the four corners of the stage.

An announcement in Chinese began the production, and then the English translation to welcome patrons. 

Gideon Orbarzanek entered the space with a translator, who, I think was Gao Jing the Rehearsal Director for China.  They welcomed us to the world premiere and explained the process of what was to happen.  We as the audience would be a part of the performance.

To prepare the audience for the performance, we followed directions from Gideon Orbarzanek to copy the dancer seated in the back row of the opposite bank of seating.  As we sat in Bank One, we copied the dancer in the back row of Bank Two seating.  The movements we had to copy were not difficult but required co-ordination and observation.  Each bank of seating was given an easy first example to copy the dancer in the opposite bank of seating.  The second example we were required to copy was a little more challenging: as you had to cross arms and was design to improve observation and co-ordination skills. The first example for the demonstration drew admiration from the opposite audience members with their applause.  Applause and encouragement came after each demonstration as the entire group of people copying the moves was magical.  These examples were conducted in full light.

During the show, it became obvious that when the lights rose on the dancer in the back row of the opposite bank of seating, they were to be copied, then your bank of audience members were to follow suit.  Occasionally the audience were not in full light, while the dancer they copied was in full light.  Each side seemed to have a different theme of moves.

A group of five dancers was centrally placed on the step like seating.  The dancers from Dancenorth Australia sat on the steps in Bank One, while the dancers from Beijing Dance Theater sat on Bank Two steps.

At times one group of five dancers were featured in the light, to move their hands and arms around the centrally placed dancer.  Then the dancers in the opposite bank of seating were featured.  The structure became predictable, and this was part of the charm, to try to create a unified ensemble (including the audience).

Occasionally the dancers would converge into the central stage area to perform as a duo or as an ensemble. There made some lovely shapes and tableau at times.

The dancers at one stage were prone on the stage and still for a short period.  Gradually they began to move.  They looked like worms writhing across the stage, until they rolled up through the spine to be either upright or semi-upright stance.

Towards the end of the piece, the ten dancers stood shaking and pulsating until they formed a large diagonal formation.  Here the group copied the moves of Mason Kelly to varying degrees of accuracy. Some interpretations of his moves made me question their observation skills. For example, stretched fingers compared to some dancers using curled or spread hands.  I appreciate they are not a corps de ballet for synchronicity, but the theme seemed to be of a shared experience and to perform with your ability level.  I am afraid that professional dancers should be more accurate in replication of moves, as it lost its impact with some sloppy and uncoordinated interpretations. Plus the quality of texture of the moves varied from the leader of the group to some of the other dancers.

The large diagonal turned gradually and a new dancer led the group and was being copied.  The quality of replication was better on this side, though a few dancers seemed to be predicting the next move and the ports de bras was ahead of the leader, as was the shape.

This made me think of the audience and how difficult it is for dancers to copy moves for the stage. It highlighted how much I was impressed with the cooperation and skill of the audience.  In fact, I was more impressed with watching Bank Two than some of the dancers.  This is not to say I did not enjoy the show, I did, though I think it went ten to fifteen minutes too long.

The structure of performance was a bit cliche with the one side, then the other side for either the audience or the dancers.

At times, "One Infinity"reminded me of the work of Ruth St Denis and Ted Shawn and some of their "musical visualisation" work.  There was something about some moves that reminded me of Ted Shawn's book "Every Little Movement" and the nine positions.  This was most evident with the hand gestures of stretching, strumming, curling fingers etc.

At times the show felt a little didactic, but was enlightening for many audience members as it heightened their appreciation of the dancer's skills.

Costumes Designer, Harriet Oxley had the dancers open with costumes that were later taken off to reveal more fitted attire.  Sadly, when revealed the fitted garments varied in quality for each dancer.  The cut of the fabric was wrong in many cases, as some of the shorts had creases that were unflattering for some dancers.  The tops were a little more successful with the lines and finish of the costume.

Lighting Design by Damien Cooper was successfully integrated into the production. The lighting played a huge part of the production and was crucial for providing clues to the audience of when interaction was required.

Music was provided by Jun Tian Fang Music Ensemble.   The most interesting sound was provided by the voice of Xiao Gang to counterpoint the other flute like instruments being played by Genevieve Lacey.

Sound Designer, Jim Atkins provided segues between the music and the action.

The ending was predictable as the audience would be simultaneously performing a united series of moves as per the title of the show.  The other cliches included in the production included the way the lights rose on each side to acknowledge the different seating banks of audience members.  This of course was conducted in stages.  This finale did not build to any united crescendo that I have seen in other works that build to create a unified conclusion.

"One Infinity" could have been a much better work with more integration between all production departments to unify a seamless show.  There was something missing that did not ignite the "wow" factor that should have occurred.

I enjoyed "One Infinity" and it was a unique experience to be a part of this performance. Parts of the show reminded me of another work from a previous Melbourne International Arts Festival where the audience were separated at the Meat Market and the audience had to change sides.

Some people stood on Bank One for the ovations.  Other audience members also stood, including myself, as an "I can't see and I need to see" standing ovation.  More people stood in Bank Two for the ovations, though not all of the audience.  It was not a volcanic eruption of a standing ovation.

My partner and I agreed that it went about ten to fifteen minutes too long.  We both thought the production was under-cooked and under-developed.  The quality of the audience participation exceeded the quality of the dancing.

"One Infinity" will become a successful festival touring production, though it requires some work to create a polished production.  The show reminded me of a 1960's happening.

My partner adores contemporary dance and described it "as a distraction".

"One Infinity" obtained a 7.5/10 from me, while my partner gave it a 5/10.