Posts Tagged ‘kate harman

02
Dec
18

Depthless

 

Depthless

The Farm

Judith Wright Centre

November 30 – December 1 2018

 

Reviewed by Shannon John Miller

 

 

Six lights pinned to the proscenium blanket the stage in a rich, dark purple hue. A drum kit sits to the right, where a mess of guitar effects pedals, and chords are strewn across the floor in the shape of a crescent moon ending in amplifiers upstage. But everything is side-on, and to the right as if we’re about to view a concert from the wings.

 

A man, Guy Webster, appears from the darkness gently playing a simple riff on an acoustic guitar, and channelling Bach’s Well-Tempered Clavier, adding poetry and lyrics. A light in the far corner swings like a lighthouse, bathing the audience in film noir. And behind that light a genderless form emerges, Harman, languishing upon the ground, as if being moulded from clay.

 

 

She then appears in a short gold, sequinned dress and deliberately toys with clichés of feminine beauty, fantasy and desire. Her movement is expressive and infantile, conjuring the tragic Hollywood princesses; Munroe, Lana del Rey, and Lolita.  However, these skins are abandoned and replaced by Denham and deeper more emergent cravings. And the electric guitar becomes a site of male power of which Harman seeks to possess and subvert. A rock battle ensues, with Harman and Webster’s dispute conveyed through a breathtaking pas de trois between them and the electric guitar.

 

Running just under an hour, we’re treated to a uniquely performative rock odyssey. Harman, fully embodies the defiant muse, desperate, through expressive movement, to break free of both artistic assumptions of her sex, and the confines of her musical creator, Webster. Harman’s choreographic process is seemingly limitless in her ability to communicate physically. She leaps exquisitely from a sumptuous, lilting naivety to a worldly, violent grace, while playing on the audience’s assumptions of women’s roles in art, sex and dance.

 

And she is a worthy adversary to Webster, a remarkable musician who pushes his acoustic and electric guitars past their limits, even if at times a little too loudly. He experiments with every conceivable part of the instrument from arpeggios, to plucking strings of the pegboard, and torturing it in distortion with his many implements. It’s as if the guitar is a third character in this two-hander. He draws from the guitar a soulful grotesqueness, then resolves dissonances with recourse to musical energy evocative of Led Zeppelin, Jimi Hendrix and Hans Zimmer. At one point, he repeatedly launches the guitar across the stage, dragging it back by its chord like the god Sisyphus punished for all eternity to roll a boulder up a hill.

 

There is real conflict and tension here as one artist seeks to assert dominion over the other’s right to possess the guitar. Webster, trying to preserve a status quo as Harman remains unyielding in what is a beautifully engineered tug of war. We, the audience are in the crossfire, and it’s our expectations of what we suppose to be gendered artforms that are challenged, and at stake.

 

 

While the work is supreme, the structure could be tightened of unnecessary dramatic pauses. Yet even still at its zenith, the work explodes in a drum kit-fuelled frenzy of anger and joy; an ex-machina soothed only by a fragile reverie. But who will surface victorious?

 

Ballads by multi-ARIA award winning musician Ben Ely of Regurgitator, are beautiful and while seemingly unrelated, are perfunctory as is the dialogue to the play, because the central narrative is the politics of movement between Harman and Webster. This unique work is more than just showcasing two talented performers, but an important commentary on the state of the art, and audiences’ oppressive demands on what is entertainment.

 

 

 

14
Jun
18

The Mathematics of Longing

 

The Mathematics of Longing

La Boite, The Farm & The Uncertainty Principle

La Boite Roundhouse Theatre

June 2 – 23 2018

 

Reviewed by Nicole Reilly

 

 

My passion is to translate, if you will, the beauty of maths and physics into something visceral, narrative, human, ‘emotional’ if I dare. This play The Mathematics of Longing is an expression of that desire to merge two of my worlds, two of my ways of seeing, and to invite everyone to share the wonder of mathematics in a completely different and experiential environment. And it is also very much about uncertainty, not just the physics theory of The Uncertainty Principle, but uncertainty as it comes up close and personal, opening up possibilities, emotional journeys, tears, laughter, sadness and joy in human lives.

– Suzie Miller, playwright and co-creator.

 

An ambitious experiment in collaborative play-building between La Boite, The Farm and The Uncertainty Principle, The Mathematics of Longing is a fast-paced 60-minute non-linear collision of art, mathematics and humanity. As promised by playwright, Suzie Miller, the audience is invited to share in the wonder of mathematics. This is for some a frightening concept, but thankfully it’s tackled through the familiar lens of love…between a physicist (Todd McDonald) and a playwright writing about physics (Ngoc Phan), and their daughter (Merlynn Tong), and a rockstar and his artist girlfriend (The Farm’s Gavin Webber and Kate Harman, who are both thrilling to watch in these demanding physical and emotional roles).

 

 

 

Each scene, or event, opens with a monologue detailing a mathematical theorem, providing a framework within which to contextualise the on-stage actions. And assumedly, due to the collaborative nature of the work, the designers (lighting by Ben Hughes, sound by Regurgitator’s Ben Ely and set by Ross Manning), are able to incorporate the beauty of mathematics into all aspects of the show quite effortlessly. It is somewhat apt, however, that after outlining a mathematical theorem, what follows is an experiment, executed with varying degrees of success. One such success is of attachment theory, with the rockstar and his girlfriend entangled in red cabling whilst below them, the physicist and the playwright attempt to divide their belongings as they navigate their separation. Even in relative stillness above, allowing our focus to go to the physicist and his wife as they collect and sort the domino-effect-fallen books surrounding the stage, the entanglement of the two dancers is nothing short of entrancing.

 

 

In an earlier scene, an alternate universe sees the physicist and the playwright lament the loss of their daughter. An attempt at profundity is made, but this is an example of when a director is necessary, rather than five co-creators. Full of potential, primed to be heart-wrenching, it fails to reach the emotional heights needed to affect the audience, or even to portray a real experience. The scene lacks vision and clarity, and feels as though every line between the physicist and the playwright was chosen for its profundity, lacking authenticity as a result. An underplayed scene that when revisited later and re-contextualised to take us into a different universe with a different set of circumstances, never offers stakes high enough for us to care.

 

 

 

 

By far the most satisfying experiment of this new work is between the physicist and his daughter, as he explains the sheer beauty of maths with such passion and intensity that the audience can’t help but smile and be swept up in his delight. Miller’s writing of her lived experience is poignant and emotive, carried with ease by both McDonald and Tong. The additional layers, in the transformation of the stacks of books lining the stage into dominoes and a helix, as well as the installation-like floating and spinning tubes of light, vividly illustrate the beauty of mathematically seeing the world. Cleverly, as the lights spiral above the audience, that sea of faces, now lit and enlightened, is revealed.

The Mathematics of Longing, in its debut season, is a promising first draft, enjoyable and full of potential, though at times it feels like an unfinished version of Nick Payne’s brilliant Constellations.