Review: Get Her Outta Here (107)


Venue: 107 (Redfern NSW), Apr 19 – 21, 2018
Creator: Isabella Broccolini
Cast: Isabella Broccolini
Images by Phil Erbacher

Theatre review
Isabella Broccolini is the lady in red, swathed in an uncompromising colour representative of all things fiery. We see a picture of obstinacy, a woman of dogged determination making single-minded statements about selfhood, and of identity in general. Her red suitcase never leaves her side, like a snail with her home attached, adding to the image of tenacity, but symbolising discontentment, in a performance piece that seems to talk a lot about the unexpected duality of perseverance and relocation.

Get Her Outta Here is wonderfully engrossing, fuelled by the inexorable presence of its creator. Broccolini’s physicality is confident and powerful, with an idiosyncratic style to its movement that has us captivated. Her body is untethered to the homogenising nature of dance training, but offers a clarity and strength to what it wishes to convey, as though disciplined in accordance with her own ideals.

The work is abstract, beautifully so, and audiences will interpret it how they wish. When art refuses to be obvious, it runs the risk of leaving us apathetic, but Broccolini’s enigmatic (and often very funny) approach is deeply alluring. We find ourselves opening up to her, allowing her obscure expressions to provoke and inspire. Music by Grace Huie Robbins moves the show through its various phases with excellent effect, creating shifts in dimensions that help enrich our imagination. Lights however, are under-explored and regretfully monotonous, for a production that is otherwise an aesthetic delight.

Broccolini’s speech is coy, but glimpses of honesty are revealed in her storytelling, to help our minds assemble a sense of truth for the red lady. Under the quirky and jokey, almost camp, deflecting exterior, lies a distinct rage, drenched in blood, perhaps too gory to expose unadorned. Get Her Outta Here is a woman’s fight with territory, even as she resists every place that she finds herself. Outsiders wish to be anywhere but here, and for us, the cliché is especially true, that it is the journey, and not the destination, that fulfils. Our project of reclaiming and redefining space, is not yet able to afford any room for complacency. For the time being at least, the red lady’s adventures with her red suitcase shall not cease.

www.107.org.au | www.isabellabroccolini.com

Review: Don’t Go To This Show (The Leftovers Collective)

Venue: Yellow Umbrella (Potts Point NSW), Nov 25 – 26, 2017
Devisors/Performers: Veronica Alonzo, ​Tom Beynon, Danica Burch, Lauren Clair, Veronica Clipsham, Sabrina D’Angelo, Peter Defreytas, Lakshmi Fernandez, Curly Fries, Claire Giuffre, Tim Kemp, Lana Kershaw, ​Michelle McCowage, Alexander McIntyre, Charlotte Rose Pietsch, Angel Rodriguez, Gemma Scoble, Denis Tarrant, Brendon Ussher, Nick Woods

Theatre review
The show takes the form of an art gallery exhibition. Everything happens in a glamorous white room, with each piece (or scene) assigned its own station. Western art authorities are always ripe for mockery; it is easy to disrupt the way they are determined to take themselves so seriously. The concept of bad language can be thought of similarly. The rationale behind these taboos, so strictly enshrined, are patently flimsy. It takes the collusion of deluded masses to adhere to these behavioural codes, and in Don’t Go To This Show, we take a look at swearing and consider the arbitrary nature of these social contracts.

There are at least 8 “artworks” that constitute the event. We walk from one to another, usually spending cursory time with each. It is a gleeful exercise, playful and absurd in their various manifestations in accordance with the theme. The ideas are simple, as are performances, but the production is well executed, with an irrefutable ability to amuse and fascinate. Although not entirely thought-provoking, the experience is nonetheless delightful, with Claire Giuffre, Lana Kershaw and Gemma Scoble particularly memorable as comedic elements that add a sense of exuberance.

The very purpose of language necessitates concurrence. In that process of communication, we want words to affect, and by the same token we want also to be able to control, how we are to receive them. When words are issued, intention floats in the ether, and can transform at the point of interpretation. We cannot always be sure if and when offence is the objective, and it is not always the objective that dictates offence. Our communities need to be kinder, that is for certain, but it must be incumbent on every individual, not just the polite, to improve how we can live together.

www.theleftoverscollective.com

Review: The Library Of Babel (Sydney Fringe Festival)

Venue: HPG Festival Hub (Erskineville NSW), Sep 26 – 30, 2017
Concept: Claudia Osborne, Emma White
Director: Claudia Osborne
Cast: Evan Confos, Isabella Debbage, Vincent Grotte, Emily Haydon, Holly Friedlander Liddicoat, Anna Hedstrom, Sally Lewis, Amanda Lim, Sean Maroney, Beth McMullen, Sasha Mishkin, Joseph Murphy, Gemma Scoble, Eliza Scott, Isabella Tannock, Rosie Thomas
Image by Philip Erbacher

Theatre review
The Library Of Babel takes the form of one big theatrical space, with seven small rooms located within. 16 artists present incongruous and deliberately perplexing pieces of performance art, as we wander through the maze, looking at, and sometimes interacting with, these otherworldly creatures.

In their manufacturing of something that is beyond immediate comprehension, each performer reaches for ideas outside of our shared prosaic existence. To be in contact with inspiration, is to extend consciousness to strange places. Our mind will attempt to form meanings from these disparate encounters, but its tendency to usurp time and space, can be resisted.

It is important that this theatrical experiment insists on the participation of our bodies. The Library Of Babel makes us move around, to forage with our limbs, in addition to the usual deployment of ears, eyes and nervous system. We absorb the experience, and for the hour or so, confusion and disorientation make friends with fascination and intrigue. Trying to achieve an understanding of the work as a conventional theatrical entity, is futile. Intellect should be made secondary, at least temporarily, as it can only be an obstruction to the appreciation of the strange expressions taking place.

The world remains a riddle, no matter how much human interpretation is imposed onto it. We try to shape it into our image, but it always outsmarts us and has the last laugh. In our efforts to become masters of the universe, we get entangled in internal monologues, and lose the ability to find a state of peace, with the greater environment that accommodates us. In The Library Of Babel, we share space and focus on the now. We hold each other in mutual presence, perfectly tangible in our flesh and blood, and we allow time to take on a quality of irrefutable authenticity.

www.kleinefeinheiten.com

Review: Trade (Hurrah Hurrah / The Old 505 Theatre)

Venue: Old 505 Theatre (Newtown NSW), Apr 4 – 15, 2017
Director: Alison Bennett
Cast/Devisers: Alison Bennett, Dymphna Carew, Alicia Gonzalez, Mathias Olofsson, Melissa Hume
Image by Maria Hansson

Theatre review
Corporations exist to make money for its stakeholders, that much is clear. Everything else they claim to do, are undertakings that must be taken with a pinch of salt. In Trade, we examine the nature of these organisations, and their perennial pretensions around social responsibility. If the point of their existence is to maximise profit, we must always hold a sceptical attitude toward their altruistic proclamations. It is a culture that defines itself by taking more than it gives, so our interactions with businesses should always be cautious, and if their people are anything like the vile characters in Trade‘s fictitious world, then the state of our affairs is very grim indeed.

The piece looks exaggerated, but what it communicates feels absolutely real. Its theatrical language is inventive, absurd and hyperbolic; the story is told with faces and bodies in a completely anti-naturalistic way, and through its performance art approach, we discover a surprising accuracy in its grotesque portrayal of greed and megalomania.

Alison Bennett’s direction is spectacularly entertaining while maintaining a raw unconventionality. In the absence of a complex narrative, details are located instead, in all the deliberate gestures of the five flamboyant players, each one presenting their own version of the unhinged corporate cannibal. Elaborate sequences involving an energetic ensemble and its strange movement vocabulary, keeps us fascinated and thoroughly amused. Their cohesiveness is deeply impressive, and the most persuasive element of the show.

It is a strong message that Trade wishes to impart, but for all its passionate assertions, what we do eventually leave with, is a simple and unoriginal idea about the darker sides of humanity. Also less satisfying, is the deficiency in commitment to visual design of the production. The audience’s eyes are thoroughly engaged in this dance of anthropological ugliness, but little is on offer when our sight shifts beyond the performers.

It is easy to want to participate in life with the principle of “eat or be eaten”. We can think of our capitalism as being fundamentally and inevitably cruel, and then allow ourselves to do harm unto others, to keep from falling prey to those who run faster. The fear of not succeeding can be overwhelming, and the voracious appetite for an unending more, is a force that few of us can hide from, but surely there must exist something more generous and compassionate, if not entirely more blissful, in a way of life that is abundantly honest and, dare we say, pure.

www.hurrahhurrah.com.au

Review: The Unknown Dancer In The Neighbourhood (Japan Foundation)

Venue: Eternity Playhouse (Darlinghurst NSW), Mar 22 – 23, 2017
Playwright: Suguru Yamamoto
Director: Suguru Yamamoto
Cast: Wataru Kitao

Theatre review
The neighbourhood in question is Nagai, a small Japanese town, unremarkable and forgotten. The stories we hear are disparate, about individuals associated only by physical proximity, but each with an unmistakable sense of isolation. Suguru Yamamoto’s The Unknown Dancer In The Neighbourhood is about the loneliness of modern life, our increasing introversion as a result of technological advancements and the ever-present tensions rendered by our human need to connect.

It is a script with lots to say, and a long, meandering plot. Small narratives pique our interest, but in the absence of a more conventional approach to manufacturing drama, the 90-minute production struggles to sustain our attention. There are inventive elements to its staging methodology that make the show an artistic success in many ways, but its emotional dimensions, although intensely performed, are less affecting.

Wataru Kitao embodies a large number of characters, including a gorilla and a train, in this ambitious one-man show. A highly accomplished dancer utilising both European and Japanese disciplines, along with versatile vocal abilities, Kitao’s portrayals of all ages and genders with no reliance on costume or makeup changes, is clearly impressive. Brilliantly self-assured, his presence is a confident one that keeps audiences gratified.

The Unknown Dancer In The Neighbourhood shows us the problems of modernity but offers no solutions and does not place blame on anyone explicitly. It is a true representation of our experiences, so we know what it refers to, without requiring it to have everything spelled out. As each generation of trains move us faster and faster, we can only be carried away as the times see fit. Our humanity will offer resistance, but as history shows, people will transform along with the machines we build. The past can tell us so much of what to expect in the future, but the mystery of what is to come, will always prevail.

www.jpf.org.au

Review: Invasia (The Leftovers Collective)

leftoversVenue: Hustle & Flow Bar (Redfern NSW), Jan 26, 2017
Devisors/Performers: Veronica Alonzo, Nisrine Amine, Alison Bennett, Lauren Clair, Darryl Cooper, Curly Fries, Fiona Jopp, Tim Kemp, Lorna Munro, Lap Nguyen, Paul Ryan, Wendy Strehlow, William Suen

Theatre review
Australia Day remains a celebration for some, but for many others, it is an occasion to remember the atrocities that originated in 1788, and continue to happen to our Aboriginal peoples on a daily basis. There is no question that a significant proportion of the population understands the remorse that should feature on the day, although very few are able to conceive of any proper action that would extend beyond words of sorrow and guilt. We run the risk of turning the occasion into an opportunity for a kind of emotional absolution, that is ultimately inconsequential.

Invasia imagines an absurd scenario, whereby a new ruler is democratically elected to take over the Australian government, with dictatorial powers that enable them to determine a whole new way of life. Five individuals take to the stage, reciting passionate diatribes, in various non-English languages. We are mostly confounded, restricted by our monolingualism, unable to understand anything. Listening takes on a different meaning, as we move away from the activity of deciphering words, to becoming open to the other signifiers in communication. We are forced to connect on other levels, heart to heart perhaps, in trying to reach something concrete, and mutual.

It is easy to talk about the dismantling of failing systems through radical ideas, but we never go through with them. We take small steps instead, and are frustrated that change is invisible. If the problem is identified as being a white patriarchal thing, we want to conceive of a solution that simply replaces an ethnicity for another, a gender for another, except existing power structures will easily determine that the staus quo remains. The art of Invasia provides no answer to our Australia Day woes, but it is a strong articulation of the many questions, relevant and pertinent, even if we comprehend none of its words.

www.theleftoverscollective.com

Review: The Adonis Procedure (The Leftovers Collective)

theleftoverscollectiveVenue: Hustle & Flow Bar (Redfern NSW), Nov 1, 2016
Devisors/Performers: Liam Benson, Curly Fries, Chantelle Jamieson, Tim Kemp, Lou Pollard, Courtney Stewart, Ronan Sulich, Paul Wilson
Image by William Suen

Theatre review
In a small bar, a drag queen by the name of Aphrodite greets us, as we gather to participate in a rare happening, a throwback to art events of the sixties that most have only read about. The performance is carried out by all in presence, as everyone is required to invest into the playacting that creates a scene of a high-status auction. First part of the show involves a series of presentations that investigate the 5 lots being put on sale. Classic Greek statues, brought to life by 5 actors emulating poses and reciting classic verse, while a cameraman zooms in tightly into a single spot on their bodies. A screen shows us skin and hair in hyperbolic detail. Thereafter, the crowd is encouraged to bid on the items, using money previously distributed by Aphrodite.

The crowd very quickly begins to pool their cash. We realise that these iconic objects are beyond the ownership of single persons. Entities begin to form, and wars break out over these relics of beauty. Ronan Sulic, the auctioneer from Christie’s is conducting the proceedings and we are all swept up in his verve and excitement, for the art, and for the money. Frantic contests to acquire esteemed works of art have occurred since the rise of the middle class, but it is an unusual episode for independent theatre and emerging artists. Our society values art, but not all of it. Money is channelled to certain people, while others languish in neglect. The system pretends to be based on merit, but it is not. In its alleged estimation of values such as beauty, skill and social significance, artists are placed in a triangular hierarchy that favours few and subjugates many. It is a problem of economic rationality, and a problem of applying capitalistic principles to how art comes to be in our lives.

When the crowd battles it out for their desired articles, it is the squabble that becomes the centre of attention, and any intrinsic qualities each statue might have had, fade into irrelevance. Art is social, and in this case, it is about who comes out on top, and who faces defeat. Of course, we all understand that great works should exist in the public domain, and not be controlled by individuals or organisations, but we are unable to fulfil that idealistic principle in how we actually carry out the business of art. Our institutions fail us, and our governments fail us. The increasing privatisation of everything in Australia, means that how we do art, is in accordance with how the elites will profit from all activity in the industry. The big guys are a dictatorship that determines the rules of what art should look like, and the small guys have to choose whether to submit to a career of emulation and placation. Forces in the economy want everyone to believe in the survival of the fittest, and when artists forget to question things, which is their most sacred purpose, art will die. In The Adonis Procedure however, subversion and interrogation of norms is its intent, and the key to making a kind of art that is lively, surprising, and necessary.

www.theleftoverscollective.com