Left: (l-r) Vincent Crowley, Stephanie Lake, Brain Lipson. Cover: Brian Lipson and Cast. Photos: Chris Budgeon
The
life of an actor and dancer is based on duplicity. There is an on-stage
and an off-stage, a time in disguise and a time when the costume comes
off. Gideon Obarzanek,Co-Director/Choreographer with Lucy Guerin of Chunky Move’sTwo Faced Bastard, describes it as a ‘two faced’ job. It is this duplicity that Two Faced Bastard demonstrates
and challenges. Through its combination of modern dance,
abstract movement and acting, it proves that while there is always a
different point of view, a different opinion, a different side, trying
to make a distinction between them can result in a wonderful mixture of
harmony and utter chaos but may ultimately be futile.
In
the words of the usher “it’s the same, but different”. He refers to the
show the audience will view if they enter the performance space through
his door, rather than the other. Which door the audience enter, is
the first of two choices they must make when viewing this production.
For the audience, these decisions will determine not just their
viewpoint but also the very show they experience. It must be noted, that
the descriptions of this particular audience member will most certainly
differ to those of anyone who entered the other door.
The floor to ceiling vertical blinds are a rather ingenious choice by set designer Ralph Myers
and largely contribute to the split nature of this production. They
physically divide the two audiences and performance spaces and open and
close to reveal a tantalising glimpse of the performance (and sounds) on
the other side.
The
space on one side of the blinds is best described as the front of stage,
while the other side acts as backstage. The performers manoeuvre their
bodies through the blinds to cross from one space to the other,but the
blinds tangle and this transition between front of stage and
backstage is neither easy nor clean. On this particular evening in a
moment of frantic energy, one strand of blind is torn down. The apparent
division between performer and audience, on stage and off stage, is
never a certainty.
In
this production the very process of creation and transformation is there
for all to see. Both sides of the blinds exist in front of an audience
so that in reality the performers are never off stage, nor out of
character. They dress in front of the audience, they call each other
by their real names, and they even discuss their art and what they
expect of their audience. The issues discussed in the forum open up
possible interpretations of the hour that follows but also provide some
very comic moments, particularly from Brian Lipson.
As an ensemble the performers show great chemistry and trust. The dancers, Stephanie Lake, Byron Perry, Antony Hamilton and Michelle Heaven, all display great energy and consideration of their movements. Perry and Hamilton’s
extreme physicality and synchronicity is particularly impressive. It
would appear that one audience is treated to less dance time than the
other, and in particular seems to miss out on a solo by Lake. If her performance at the end of the production is any indication it would have been rather special.
Amidst all of this Vincent Crowley
does well as the voice of reason and the only ‘non-performer’. For a
long time his character is the one who does not traverse the two spaces
and can consequently separate on and off stage and what is creation and
reality. But, tempted by Steph, who belongs on the other side, on stage, he can only avoid this for so long.
Perhaps
the most amusing and creative moment in this production also questions
what it means for a character and a creation to crossover from the
stage to a space that is considered to be real life. A tiny,white,
bird-like character enters back stage through the blinds. At first
she tentatively plays with the polystyrene that litters the floor but
she soon gets cheekier and louder. It is Michelle,dressed from head to toe in a costume made of cardboard and sheets, which to costume designer Paula Levis’ credit, accentuates rather than hinders Michelle’s movements. Nevertheless, Vince
cannot accept the notion that the character and the performer are the
same person and that a space can exist in which the two combine.
Unfortunately
only one audience views the antics of the little white bird in its
entirety and it is therefore possible that one audience misses out on a
most important part of this production. At one stage the blinds are
opened completely and the audience is given the option to swap sides, to
see what the other audience sees. They must make their second choice for
the evening and it is then that a curious tug of war begins
between wondering what will happen if the point of view is shifted. Will
we miss out or will it be better?
The wonderful thing about Two Faced Bastard is that regardless of which door you enter, it is guaranteed that you will be shown, without disguise, many wonderful faces.
Chunky Move & Melbourne International Arts Festival present TWO FACED BASTARD
Venue: Arts House Meat Market
Dates: Wednesday 8 to Sunday 12 October
Bookings: Ticketmaster 1300
136 166 or www.melbournefestival.com.au
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