Don’t expect to understand The York Crucifixion. Directed by Andrew Hale this production misses the theme entirely. On purpose. Hale says in his notes; “the process of The York Crucifixion has been about missing the theme – does it look like we are trying to say something? Quick, let’s subvert that”. It creates a rambling, nonsensical take on an old medieval mystery play.
The York Crucifixion
is one of 48 plays covering sacred history that make up the York
Mystery Cycle. There is no firm ruling on who wrote the York cycle,
although it is generally agreed that a group of clerics is the most
likely. The playwright, however, is recorded as Anonymous. The Mystery plays dominated English drama during the 14th – 16th centuries, and The York Crucifixion focuses on the four soldiers who crucify Jesus.
It is rare that the mystery plays are performed, but Happy Dagger Theatre and Hale have taken a HUGE leap into new and uncharted territory with their adaptation. The four soldiers appear here as bouffons, creatures that are not human and exist to mock. Their greatest delight is to make war, fight, and kill each other.
Hence
we watch a play mocking the sacredness of Easter and Christ’s
crucifixion. I personally didn’t find it offensive, but I imagine it
would offend many. There were four characters constantly
fighting and mock killing each other, breaking out in inappropriate
songs and comments such as ‘ha-ha . . .nailing. . . that must hurt’,
then roaring outrageously. It was a riotous, raucous hour long event.
The mystery cycles were originally performed on movable wagons, and set designer Bryan Woltjen utilised
this in his brilliant set design. There is only one piece - a
wonderfully intricate contraption made out of forty three lengths of
wood, nails and dowels.
The
piece arrives onstage originally as a wagon pulled by a cast member.
After a few runs around the large, otherwise empty stage, the cast
spend the show disassembling and reassembling the many pieces into
various items: a cage, a wagon, and most importantly, a large cross.On this, Jesus (played with torturous lack of emotion by Renée McIntosh) hangs for much of the last 15 minutes of the play.
The four male performers – Damon Lockwood, Igor Sas, Benj D’Adarrio and KingsleyJudd,
should be applauded for their energy and sustained manic performance.
Unfortunately the lack of diction from all performers, coupled with the
acoustics of Rechabites’ Hall, ensured that I (sitting in the third
row) could not understand what they were saying 90% of the time. This
meant I relied almost entirely on their actions, which whilst
entertaining, I found frustrating because they didn’t go anywhere.
Indeed, whilst there were sections that worked well, there were parts
that felt like one big improvisation session.
I don’t believe The York Crucifixion is
going to appeal to many people, and from a finance point of view, that
is not good. Artistically though, it is a bold move to take, and it was
exciting, if irrelevant to watch.If the cast can sort out their diction and projection, then I expect it will become a highly entertaining show.
Happy Dagger Theatre presents THE YORK CRUCIFIXION
**contains language and nudity
Venue: The Rechabites Hall Northbridge
Dates: March 6 – 23
Times:
Tues - Sun @ 7.30pm; late shows Fri/Sat @ 9.30pm
Tickets: $35 Conc $20
Bookings: BOCS 9484 1133
I suppose it is easy to mock one who is crucified. No doubt second thoughts would be given to ridiculing a turbaned prophet whose hands can reach for a sword, or, whose loyal followers would proclaim a fatwa and arouse the troops to a holy jihad.
History repeats itself and the stage once again provides employment for buffoons and jesters, who, it appears sink to the depths of trivialization of things that are good, noble and honourable.
The cross of Christ attracts scorners and skeptics, mockers and the malevolent, who, again we might assume retain enough desire for self-preservation that they would not care to violate the sensitivities of those who summon Mecca's faithful to prayer, by flaunting their brazen impiety. But Christ and Christianity are open season for those whose talents are prostituted and perverted to defaming what they are ignorant of, and indifferent to.
As the director of The York Crucifixion and Artistic Director of Happy Dagger Theatre it is disconcerting that I am responding to criticism from people who have not yet seen the production. However, in true Easter style it seems, I must answer to scare-mongering and unsubstantiated claims. Knowing the company I keep, I proceed in good faith.
All criticism of the production falls roughly into five categories.
1) The timing of the production is insensitive - We are attempting an exploration of the Easter story, therefore I cannot think of a more apt time. If the suggestion is that people should not think about Easter during Easter, must only think about Easter in a certain way, or that only Christians may ponder love and sacrifice at this time of year, I wholeheartedly disagree. 2) The production seeks to mock Christians - It does not. Four soldiers complain, blaspheme and mock as scripted by the clergy in the 13th century. This production uses a theatrical devise (Bouffon theatre) to portray those soldiers as immortal, otherworldly beings that play nonsense games and ignore Jesus because Jesus refuses to join in. Instead of mocking in the usual mean fashion they do so with delight and exuberance. 3) The production is blasphemous - This criticism seems to come from the misconception that Jesus is being portrayed as a woman. This is not so. Jesus is being played by a woman. Actors are vehicles for the story and as such, can play any age, gender, and/or form that is required of them. The character of Jesus is continually referred to as ‘he’ by the other characters as written in the original script. As for the semi-nudity, the image of crucifixion is for me one of fragility, vulnerability, innocence, and strength. To clothe that image is to dilute its power beyond theatrical use. 4) Happy Dagger Theatre wouldn’t dare do a similar production surrounding an Islamic Holy Day or Season - Any examination of a story that comes from a culture other than my own, not based on any knowledge or experience of that culture, would of course be offensive. It is no more Happy Dagger Theatre’s right to explore Islam than to explore Indigenous culture. My culture is predominantly Christian. As an artist I claim my right to examine the culture that formed me and to do so publicly. The implicit slander in such criticism on peaceful Muslims however, is palpable. 5) The State Government of Western Australia funded the production - Every arts funding application goes through a rigorous selection process. Most major theatre work is budgeted between $100,000 and $300,000. Our $28,000 grant made up less than a quarter of the original budget for The York Crucifixion. The shortfall came from the donation of goods, services and labour by those in support of the project. Happy Dagger Theatre employed twelve professional West Australian artists, five of them for a period of seven weeks.
Happy Dagger Theatre is a growing company with a passion for theatre, a desire to push theatrical bounds, a wish to always improve as artists, and a heartfelt faith that entertaining is the least theatre should be. Many people (Christians and Atheists alike) have already decided what Easter means to them. For the rest of us, Happy Dagger Theatre proposed an opportunity to take a look at the story and perhaps ponder its meaning afresh. The York Crucifixion has certainly done that. However we never imagined it possible, without it ever being seen.
What ever company, which ever director, who ever the actors are... when you perform history however controversial.. you will face being crucified. You are not defending the issues.. I believe you are defending the production. You should of just not replied to any of the posts. I have seen your same post in about 5 different places. Thank goodness to ctrl C/V.. All publicity is good publicity.. however bad. In 2008 years from now people will still be damning the damned. Do a farce! That ull get em goin…
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Don’t expect to understand The York Crucifixion. Directed by Andrew Hale this production misses the theme entirely. On purpose. Hale says in his notes; “the process of The York Crucifixion has been about missing the theme – does it look like we are trying to say something? Quick, let’s subvert that”. It creates a rambling, nonsensical take on an old medieval mystery play.
