Posts Tagged ‘tea

24
Sep
14

대홍수 Deluge

brisbanefestival2014

deluge_header

 

대홍수 Deluge

Brisbane Festival, Motherboard Productions & Brisbane Powerhouse

Brisbane Powerhouse

September 18 – 20 2014

 

Reviewed by Xanthe Coward 

 

Deluge. Anything that overwhelms.

 

We are all naked in the face of grief…

Director, Jeremy Neideck

 

 

Deluge Preview from Motherboard Productions on Vimeo.

 

During Brisbane Writers Festival, I was delighted to speak with Morris Gleitzman, mostly about tea. Not only a renowned author, he’s what you might call a tea connoisseur, quietly, humbly possessing vast knowledge on many varieties of tea, and the many ways in which humans have enjoyed tea for centuries. I’ve come to realise that tea expertise impresses me immensely and if you can talk about it, and make it well, you are a prince (or princess) amongst men (or women).

 

In our household tea is very special, even sacred (I quit coffee a couple of years ago); the drinking of tea is not to be rushed or denied. Our tea “ceremonies” enable a level of conversation and connection that we just don’t discover over any other shared beverage. Tea is the first and final thing we share each day, and it links events, friends and colleagues in between.
Considering my appreciation for a good cuppa, I delighted in the notion of a tea ceremony to open the show. During this time the house lights stay up and we watch as members of the company take tea orders from the audience. Black? Green? Milk? Sugar? They are relaxed, in no rush at all, waiting patiently to take turns to pour the water to make the tea from a towering urn centre stage, which sits in pride of place on a kitchen hutch. It’s not what Raymond Mao would do but it sets the scene and serves to focus our attention on the performers’ focus, kindness and control of the elements. A deceptively simple soundscape (Sound Designer Dane Alexander) and the alternating pace of the performers’ movements remind me of the imagery and viewing experience of Baraka. Although the slow-mo sets the pace of the show and establishes its ritual, which continues in the following moving water vessels sequence, what starts out as a quirky, gentle, delightful opening sequence feels, after 20 minutes, too long, even for me.

 

Other segments of the show feel indulgent for little gain or effect. Without a narrative – everything is symbolic – at times we’re left floundering (though no less fascinated or impressed by the movement itself), like the flotsam and jetsam along the shoreline. I try to go with the flow, to take in as much as possible on an experiential level. Despite its strengths Deluge is presented in an extended form that some may be reluctant to sit through again. This is unfortunate (or is it?) for the development of the piece, which might just need a new pair of eyes on it. Ultimately, despite some moments that are forever etched in my memory, this version of the show is one that is less mesmerising than it should be.

 

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The production’s strength lies in its design and ritualistic choreographic elements. The action happens in and around a semi-circle of pylons, rising up out of swirling mist like some structure’s ruined foundations at the edge of Brisbane River. Having waded through waist-deep, stinking black mud to get to Drift in the aftermath of the 2011 floods, and knowing there was a similar clean up required at Brisbane Powerhouse (and everywhere else), this picture alone elicits strong feelings. It’s the bold work of Sarah Winter, the head and heart behind A Dinner With Gravity, a rare production of pure magic, which has never left me. Here too, Winter creates a dramatic, quite magical scene out of very little. A fantastic final segment, the climax of the piece, utilises the majesty of the simple set, immense lengths of white fabric (and, are they plastic bags?), and the power of Neideck’s physical and vocal performance especially, to striking effect. Before that though, an extended trance sequence builds and builds, the performers shivering, trembling, and eventually leaping up and down on the spot, Maasai Warrior style, possessed by some dark spirit or inherent longing. They suddenly stop, and one by one disappear, drowned, beneath a shimmering green light, a body of laser brilliance that engulfs each figure. The audience gasps, collectively; the movement and music and flood of emotion has quietened all at once. This moment is why we gather together to experience live theatre. (It represents the way we come together after a natural disaster, in one breath, the same realisation, all at once). The award-winning lighting, surely, by David Walters, the stuff of illegal substance enhanced dreams, is easily his best work to date.

 

Another moment brings us Whirling Dervish sema bliss. Or is it grief even still? It’s mostly grief explored in this production – sorrow, despair and some hope. The sort of hope we hope a hot cuppa will bring.

 

Both female and male performers wear simple yet sumptuous layered, gathered skirts, which swirl and billow around the dancers just like Seven Angels Jasmin Lychee blossoms dance around our big glass teapot. Below a leather waistband cum waspie and above bare feet, the fabric swishes and swings around each performer beautifully, conjuring images of western women working new, harsh land and doing their washing in shallow creeks and rivers, in their entirely unsuitable, beautiful European garb (Costume Designers Kiara Bulley & Bianca Bulley. Originating Costume Design Noni Harrison). Most of the movement achieved draws on Korean traditional dance, most of the vocal work taken from Korean opera, leading us from the beauty and wonder of daydreams by a gentle stream, to the devastation of a stormy, horror story nightmare that is any deluge, or deluge of emotion.

 

Han is a word that is widely held to be untranslatable…it is sometimes described as a dark shadow, or a deep-set knot of sorrow that passes between generations and oscillates in that place between despair and hope. Han is presented as the voice of the pansori singer, and in the body of the traditional dancer. It is precipitated and released in endless cycles that require time for meditation and contemplation as well as cathartic outpourings of emotion.

 

Some would say this brand of art is self-indulgent, but I would say maybe the artists are still in denial about what the audience wants. Or needs. There’s a fine line between sharing ritual and respect for cultural traditions, and selling us a style and a story so that we desire more of it. Neideck has little intention, as far as I can tell, of making anything more commercial, but perhaps it’s time to consider entertainment value. It might not take much – it’s already a beautiful work of art. But for whom is the art being made? Why? Why in this country? Neideck is not only a master of the art form, but also, of knowledge and skill sharing, and nurturing the relationships between artists in Australia and Korea. There must be ways to gently bring this work, and work like it to a wider audience; to help bring all of the challenging cross-cultural collaborative work to an even bigger, newer audience, and not just continue to attract the connoisseurs.

 

Deluge has come a long way since its original work-in-progress showing in 2011 (Red Moon Rising & FreeRange Metro Arts), and it probably has something of an eternal life, or more accurately, multiple lives, should Neideck feel the need to stay so close to its themes. It should be cherished, like the oldest Puerh, but that doesn’t mean it shouldn’t change and benefit from new infusions to be enjoyed by all. I think the beauty and strange power of Deluge in any of its forms is enough to stay with even the most impatient theatregoers, so let’s hope it finds its way across the sea, continues to evolve, and comes back to us on the tide someday.

 

In 2014 Deluge features Hoyoung Tak, Younghee Park, Youngho Kwon, Katrina Cornwell, Sammie Williams, Amy Wollstein & Jeremy Neideck.

 

In 2011 Deluge featured Tak Hoyoung, Mark Hill, Younghee Park, Mary Eggleston, Kat Henry, Ellen Rijs, Jung Minji & Amy Wollstein.

 

Forest – Deluge (2011) from Red Moon Rising on Vimeo.

23
Jul
12

Brisbane Arts Theatre Drama Festival Results

Well, that was a big weekend! I adjudicated the Brisbane Arts Theatre’s 24th Annual Drama Festival. You will see the results below and, when I have a moment and I’ve posted last week’s reviews for my intrepid reviewers, Meredith and Michelle, I’ll post my comments, which I talked through before presenting the awards last night. Apparently this is slightly unusual? I thought it was important to provide some specific feedback for each group and, as a performer myself, I know the value of contextualising the feedback another company receives. We all slip into the same bad habits sometimes and it’s a great reminder – especially when everybody has enjoyed all of the plays – to talk through each production. Companies will, of course, also receive electronic copies of the comments that apply specifically to their production. I saw lots of nodding heads and smiling faces as I was going through my notes but even so, I reminded the players that my opinion is only one opinion and, as we well know, I have my critics too!

I’m super impressed with the overall standard at this year’s Brisbane Arts Theatre Drama Festival and I look forward to the next opportunity that I have to see so much theatre in the one place, over just one weekend (17th – 19th August at Buderim Memorial Hall), at the Sunshine Coast Theatre Festival. If you’re up for it, come for the weekend (a Festival Pass will set you back just $35). If you’re around for the following Saturday (25th August at Lind Lane Theatre) come and support our Youth Theatre Festival. Keep an eye out soon for our upcoming TVC on local Channel 7.

We’re absolutely delighted to welcome our Sunshine Coast adjudicator for this year, Kate Foy.

There are other festivals happening in the meantime (Beenleigh? Sandgate?). Check out the Facebook group (thank you, John McMahon, for your kind words over there!), or the host theatre company websites for details.

Congratulations to everybody involved in the wonderful productions at Brisbane Arts! Next up for Brisbane Arts Theatre is an improvised show, created by one of our winners, Natalie Bochenski and Impro MafiaCritical Hit, an off-the-cuff fantasy comedy, in which the audience makes up the rules!

To the team at Brisbane Arts Theatre, congratulations on a successful, enjoyable festival and thanks again for having me!

P.S. Girls, I wore leggings and a drape top from blackmilkclothing.com and my amazing array of teas included Coconut Chai, Rose with French Vanilla and Italian Almond!

Youth Awards:

Best Actor
Daniel Taylor (Gossip)

Best Supporting Actor
Myles van Ryan (Mack in Gossip)

Best Actress
Aleisha Deryk (Jill in Humpty)

Best Supporting Actress
Tegan MacDonald (Mary Mary & Old Mother Hubbard in Humpty)

BestDirector
Amy Ingram and Natalie Trust (Gossip)

Best Play
Gossip

Second best play
Whatever Happened to Humpty

Third best play
The Pirate Game

Best Backstage Conduct

Fractal Theatre Company (The Pirate Game)

Adjudicator’s Awards
1. Dominic Stevenson (Captain Blackheart in The Pirate Game)
2. Kai Stevenson (Short John in The Pirate Game)
3. Archie Horneman-Wren (the Guard in The Pirate Game)
4. Finn Riodan (Old King Cole in Whatever happened to Humpty?)
5. Isobel Rose (Phoebe in Gossip)

YouthLeadershipAward
Fractal Theatre Company

 

Open Awards

Best Actor – Drama
Ben Dyson (Who the Fuck is Erica Price)

Best Actor – Comedy
Reagan Warner (Level 12)

Best Supporting Actor
Mark Lucas

Best Actress – Drama
Susan O’Toole

Best Actress – Comedy
Anna McMahon

Best Supporting Actress
Kate Cullen

Best Director
Shirley Lucas

Best Play
Narcissistica

Second Best Play
Who the Fuck is Erica Price?

Third Best Play
Downsize

Best Australian Script
Who the Fuck is Erica Price?

by Sarah Brill

Most Creative Set Design
Level 12

Best Backstage Conduct

Golden Glove Productions (Level 12)

Adjudicator’s Awards
1. Elodie Boal (Writer, Performer: Crush)
2. Sarah McMahon (Writer, Performer: I’m a Pisces, He’s an Asshole)
3. Karen Peart (Performer: All For the Nation)
4. Alison Kerr (Dir: Who the Fuck is Erica Price?)
5. Natalie Bochenski (Writer, Director & Performer: Downsize)

Special mentions to:

Kirsty, Shirley and Michelle (Narcissistica)

David Breen (Freedom)

Sue Sewell (Still Life)

Downstage Theatre Company (Cut!)

 

Level 12 Golden Glove Productions

Congratulations to the cast and crew of Level 12 which performed at Brisbane Arts this weekend. Reagan Warner won Best Actor in a Comedy and the team won Best Backstage Conduct- nice work Reagan and team! And a very special award went to Nick Beck for his set creation of the elevator in Level 12, winning Most Creative Set Design! We asked Nick if he could design an elevator frame that could beset up in 10min., striked in 5min., fit onto 9 different stages and be collapsable enough to be packed into a Toyota Yaris. We asked, and he created! Well done Nick! Nick and Bronte Salmond also added some extra supports to the set this year to make it even more safe and sturdy than it already was. Thank you for your creativity, generosity and design work. And just to make this award even more special, this is the Jo Peirce Memorial Shield, our beloved friend and mentor who we are sure was watching us from her seat all weekend. We said the show was for you Jo xx 

– Kate Beck Golden Glove Productions