kitsch
Teuila Postcards, or the revenge of the cultural object
Teuila Postcards is an example of that thing-that-isn’t-theatre: performance. To use the language deign of theatre-lay restaurateurs, say, on annual night out, it is dancing with a narrative that goes beyond movement, yet never resolves into a plot. In the audience comprised mainly of enthused Pacific Islanders, my date and I had an evening of giggles and standing ovation, and understood perfectly how come theatre is ritual, rather than story-telling.
Woyzeck
Woyzeck, entering the play already half-psychotic, wanders lost in a world that has slipped into an orgiastic drill of sex and death. On these terms, the Malthouse Woyzeck works. While it is a production characterised by Kantoresque abstract gaudiness, it makes madness felt, close by, desired and understood as a natural reaction against the overabundance of noise.
The Masque of the Red Death
Not entirely successful, The Masque of the Red Death stands unsure between presentation and representation, self-awareness and not, always doing things a tad bit too literally.
On accents and other forms of realism: a mini essay.
1. A few weeks ago, my review of Hoy Polloy’s production of Fin Kennedy’s How to Disappear Completely and Never Be Found appeared on vibewire.net:
“Two of the things ostensibly most cherished in a work of art are battling throughout the Hoy Polloy's production of Fin Kennedy's How to Disappear Completely and Never Be Found. On [...]
Meryl Tankard; two stories.
After the untimely death of the brilliant Tanja Liedtke, the just-announced artistic director of the Sydney Dance Company, the company commissioned work from three choreographers, ad hoc, to fill up 2008 while in transition. Meryl Tankard was one. Inuk2 was based on her 1997 Inuk, meaning 'human' in Inuit, a work I haven't seen. By [...]
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