Tag: Luminato

Prima Rufus

On June 22, 2010

The only things that seem to be suitable to listen to after seeing Rufus Wainwright live are classical music and Queen, which is exactly what I did driving home from his concert last week. Wainwright, the son of Canadian music royalty (his father is Loudan Wainwright III, his mother was Kate McGarrigle, who passed away in January), hit Toronto last week as part of the 2010 Luminato Festival of Arts and Culture. Along with premiering his opera, Prima Donna, during the artsy fest, the beautiful, deeply mercurial Wainwright launched the tour for his latest album, All Days Are Nights: Songs For Lulu.

Last week’s show at the grand, gilded-lined Elgin Theatre was equal parts drama, camp, comedy, and bitchy commentary; infusing the entire evening was Wainwright’s intense sense of musicality and flair for drama. The first half of the concert was strange, surreal, and not a little operatic. Before his appearance, the audience was duly informed that we were to hold our applause until the very end of the set, when Rufus had exited the stage. The lights dimmed and in he came, moving lowly and deliberately, his thin frame beddecked in feathers, eyeliner, and a very long black coat-dress. The look was very Mad-Max-meets-Monteverdi -not necessarily a bad thing if you’re aiming for drama. Playing songs mainly from the new album, the effect was equal parts impressive and infuriating: Why isn’t he looking at us? Why doesn’t he want applause? What’s with those giant blinky eyes? And that damn crazy outfit? Who does he think he is? DIVA! But maybe that was the point.

Turns out Rufus took inspiration from both silent and romance-horror films, as well as -surprise -opera. But for all the grand poetic majesty, it was obvious (sometimes painfully) that Rufus, with pale skin and fair locks, is a resolutely unapologetic, wildly insecure artist with a grand sense of talent and a keen awareness of its fragility. While he plumbs the depths of his own sonic genius, he isn’t afraid to look back to the masters, either. Traces of Glass, Gerhswin, Liszt, Elton John and Jeff Buckley ran through each chord like gold threads through grey rocks. It was as musically magical as it was theatrically maddening to sit through at points. I wanted to run as much as I wanted to stay to see what he’d do next.

Entering in a floral-print suit for the show’s second half (when we were -hurrah! -allowed to applaud), Rufus’s warm smile banished any fears of poe-faced serious artiste attitude. With songs like “Matinee Idol” and “Moulin Rouge” played to marvelous, if marvelously playful effect, he threw in a slew of bitchy asides, including one directed at a recent review of his opera that likened the work to a Loblaws shopping bag. “That just proves you’re label queens,” he sniped, to cackling applause.

And as if to underline the importance of his connection with his fans, he made the point of recognizing the dedicated bunch who follow him around. “They’re obviously very rich,” he quiped, before adding, “Actually, they’re probably not… but they’re good at looking like they are.”

Beat.

“Just like me!”

This refreshing lack of pretension, tinged with outlines of insecurity, sensitivity and deep feeling, made for an eminently watchable, involving performance. Again and again, we were reminded of just how damn great a musician Rufus really is. His performance of the controversial 2007 song “Going To A Town” was biting, angry, and bitter, and showed, to beautiful effect, his gorgeous, sonorous voice ringing through the deepe cavernous space of the Elgin. A showman, an artist, a diva, a child. And, in the end, a son. The concert ended with him playing “Walking Song”, one of his mother’s tunes about the happy times with family.

I left feeling confused, overwhelmed, and more than a little impressed. Between the strains of Ludwig van and the tender-loud yowls of Freddie Mercury driving home, I found a spot where drama, sound, and persona came together like so many crushing chords. Music doesn’t always exist to coddle, entertain, amuse or remove; sometimes it’s a complicated combination of notes, colors, feelings and memories, housed within palaces, hovels, and caves. We don’t know the spot but we trudge ahead anyway, thanks to a trusty guide with a beautiful voice. Rufus as Pied Piper? Maybe. But if I wind up over a cliff, I’ll hang onto that damn long coat for dear life. I want another tune, after all.

Tiptoe Through The West Side

By Catherine Kustanczy

On June 13, 2010

In ballet

Joyful, quiet, exuberant, contemplative.

Who knew ballet could be so many things at once?

The National Ballet of Canada‘s summer mixed program, playing as part of this year’s Luminato Festival in Toronto, is a heady mix of contradictions. The first third, “Pur ti Miro”, features the music of Beethoven and Monteverdi; the choreography in the piece, by hot dance figure Jorma Elo, is regal and joyous. The second piece, “Opus 19/The Dreamer” features the choreography of Jerome Robbins and the music of Sergei Prokofiev. The last third is “West Side Story Suite”, based on the legendary musical by Leonard Bernstein, features Robbins’ choreography once more, along with colourful, lively dancing, snaps, and vocals.

With short sections, hummable music, and gorgeous visuals, the mixed program has a little something for everyone. It was with great delight that I noted the incredible number of enthralled children in attendance at Sunday’s matinee performance, as well as numerous twenty-something hipsters. Kids get the liberating quality of dance that is, for the most part, sadly lost in adulthood. It was fascinating to observe their reactions to the music and the moves, and to observe their deep, immediate connection with the dancers.

I was equally struck by the various emotional chords that were hit within the show: funny, sad, whimsical, sad, sassy, melancholy, meditative… innumerable shades of the human experience were expressed with a turn, a hand, an arm wave, and even vocally. It’s become something of a recent phenomenon to have dancers vocalize during a performance; as with Wen Wei Wang’s Cock-Pit (presented in Toronto earlier this year), vocals are a pure enhancement of the inherent drama and silent magic of movement. We take talking -and moving -so much for granted, but to have both, within a kind of vacuum, be used for sheer expression, feels like a revolution. I could only help but wonder what Nureyev would think.

Still within the revolutionary vein, I was bowled over by seeing choreography to one of the most famous pieces of music in the classical canon. I grew up hearing Beethoven’s sole violin concerto in a concert hall; it felt new, strange, and surreal to see dancers leaping around to the concerto’s exuberant third movement. It was interesting to note how the program itself was structured as a kind of journey from traditional to pseudo-modern too; moving from the old-school world of Beethoven and Monteverdi, onto Prokofiev, and Bernstein, was like a nod to a variety of dance styles and expressions.

While I enjoyed the meditative nature of “Opus 19/The Dreamer” (the silent drama between Patrick Lavoie and Sonia Rodriguez was scintillating) and adored the vintage-thug moves and hip-swinging snaps of “West Side Story Suite”, it was “Pur Ti Miro” (roughly translated as “I simply aim for you“) that affected me most deeply. Call it sentiment, call it old-fashioned, but there was something in that old-meets-new ethos in that piece (a world premiere, no less) that felt completely provocative and, weirdly, new. Its juxtaposition with the more modern Robbins works felt like just the kind of balanced contradiction that shapes a festival like Luminato, and, I suspect, will come to define, in many ways, ballet of the twenty-first century.

Top photo: Jenna Savella with Sonia Rodriguez and Elena Lobsanova in Pur ti Miro.
Middle photo: Artists of the Ballet in West Side Story Suite.
Bottom photo: Sonia Rodriguez and Patrick Lavoie in Pur ti Miro.

Luminato Lights Up

By Catherine Kustanczy

On March 9, 2010

In opera

Luminato has announced its music line-up, and wow, what a gaggle of goodies to behold.

For those of you wondering what the heck Luminato is, voila: it’s a ten-day, kick-ass culture fest that’s happened in Toronto every June since 2007. When it began, some people sniped that the money being poured into it would be better invested with various Toronto-based arts companies, but frankly, David Pecaut & Co. had something far more larger -and more worldly -than the local yokels envisioned. Partnering with cosmetics giant L’Oreal, the arts leader helped to bring a myriad of accessible, fun, internationally-minded cultural happenings and figures to the city. For ten days every June, Torontonians of all stripes get excited about all things artistic -which is quite a feat, considering how hockey-obsessed a town this usually is.

Past years have featured some truly beautiful programming, including a sexy, gorgeous, East Asian version of A Midsummer Night’s Dream directed by Tim Supple and the award-winning Black Watch by the National Theatre of Scotland. Last year’s music events included a tremendous Neil Young tribute (featuring Sarah Slean and Steven Page, among many others) and two concerts (one free) by Balkan superstar Goran Bregovic, whom I interviewed. As Luminato CEO Janice Price reminded the assembled guests this morning, 80% of Luminato events are free; to me, this means they want the biggest number of eyeballs gawking at their stuff -or, to put it another way, the greatest numbers of bodies dancing, laughing, and enjoying the being-togetherness of arts events as possible. I’ve seen some combination of all of those at various Luminato events through the years. English, French, Sanskrit, Serbian -language melts away in those moments when you’re sharing a cultural event with a crowd. I suspect it’s that kind of wordless joy Luminato’s aiming at.

This year’s music selections are proof positive of the fest’s approachability and range. Rufus Wainwright‘s opera Prima Donna is making its North American premiere (I listed it as one of the things I most want to see in 2010), and he’ll also be doing a solo concert based on his recent record release, All Days Are Nights: Songs for Lulu (Universal Music). There’s something so unapologetically European about Wainwright; despite his Canadian musical pedigree, I’ve always found him to have a style, sound, and sensibility far more suited to ‘the continent‘. His participation in last fall’s tribute to Irish artist Gavin Friday (at Carnegie Hall; produced by Hal Willner) only cemented his worldly, exploratory approach to artistry. I can hardly wait to see him.

Luminato 2010 will also feature an outdoor concert called Rock the Casbah, to feature the terrific, lively French/North African band Lo’Jo, as well as the punk-meets-Arab sounds of Rachid Taha, whose 2008 Toronto concert was one of the best live shows I’ve ever attended. Taha and his band are infectiously good; like Brega, they don’t sing in English, but it hardly matters. When you’re dancing, you don’t really notice, though you might recognize Taha’s cover of The Clash classic song the event is named after. Both his and Lo’Jo’s inclusion in Luminato is a testament to the festival’s breadth of vision and its open embrace of wider cultural patterns. So too is Malian master Salif Keita, who will be taking part in Global Blues along with Cuban band Mezcla, a danceable jazz-blues fusion group led by Pablo Menendez. There’s also John Malkovich -not sure if he’s singing, but playing a murderer, with music provided by the Vienna Academy Orchestra, has to be pregnant with all kinds of operatic-like drama. Called The Infernal Comedy: Confessions of a Serial Killer, the work is based on the true story of celebrated Austrian author and notorious murderer Jack Unterweger. Talk about a worldly vision.

That doesn’t mean Luminato forgets about their home and native land, however. The Canadian Songbook has been a staple of the fest, and this year will feature a tribute to the work of Bruce Cockburn. He’ll be sharing the stage with friends and musicians, including fellow Canucks Hawksley Workman, Margo Timmins (of the Cowboy Junkies) and Michael Occhipinti, with more to come. At today’s announcement, Cockburn called his inclusion in the festival a testament to his “longevity, persistence, and refusal to disappear” and added, smiling, that he’s “looking forward to the peculiar things they’re gonna do with my stuff.” He seemed genuinely chuffed at the tribute, observing that his usual creative method in the past would be to “record the songs, forget about them, and make room in my head for new ones.”

Cockburn’s inclusion is interesting in light of his previous anti-corporate past; Luminato has always been upfront about its close partnership with L’Oreal. The cosmetic giant’s Canadian section President and CEO, Javier San Juan, noted in his opening remarks that there had been, at the beginning of the fest, concerns in the combination between arts and business. San Juan emphasized the equal partnerships that exist between all facets of Luminato; concepts of working together closely and demonstrating a larger vision of the arts and its relationship to everyday life, were always priorities, and in case you have doubts, look at the programming. Even Cockburn, with his anti-logging, pro-environment, fantasy-rocket-launcher tunes, is getting on the train for the sake of his art. It’s just one event I’m deeply looking forward to. June is going to be full of celebration.

5 for ’10

By Catherine Kustanczy

On January 12, 2010

In opera

A new year always implies a fresh start. Those starts are always available to us whenever we so choose, but there’s something so fortifying about coinciding our personal beginnings with chronological ones, as if once a year, people (or those following the Julian calendar anyway) decide, en masse, that they can influence the course of their lives through resolution, faith, commitment, and an embrace of potential. Would that this attitude could last to Easter, when the real promise of renewal has never been made so plain for Western society.

In any case, people seem to love lists -to debate, to ponder, to look back and to measure one’s thoughts and accomplishments against. Should that movie be there? Why wasn’t that album included? What happened to that book? We measure our lives, our personal triumphs and tragedies, which seem to be both timeless and weighted to a specific moment, against such lists. I was equally heartened and amused to see possibilities for potential laid out in one particular list; some of the items are foolhardy, some are curious, some are inspired -but the spirit behind them all is, I think, genuine, and the spark of springy hopefulness is encouraging in these dour midwinter days.

So, as before, here is a list -a personal one -of things I am looking forward to in 2010:

More Live Music
While I am not a particularly big fan of club gigs (I never really was -comes with being raised in opera houses, I suppose) there are a few acts I’m hoping to see (and blog about) this year, including The Big Pink and Black Rebel Motorcycle Club. I was introduced to the former by a fellow twitterati with exquisite music taste who saw them in an early-winter gig here in Toronto and was suitably impressed; having heard The Big Pink’s stuff on the radio both prior and following that concert, I’ve become entranced by their marriage of old and new sounds. This is rock and roll you can dance to. I like that. And… BRMC? Dirty, good, loud. I’ll take it.

Pop Life
Happening at the National Gallery of Canada in June, this exhibit is featuring works of my very-favourites, including Tracey Emin, Takashi Murakami, Damien Hirst, Andy Warhol, and (sigh!) Keith Haring. It’s only January but I’m already excited. I can think of no other group of artists who have so changed the modern cultural landscape -and in so doing, altered the way we experience culture and its relationship to the everyday mundane reality of daily life. Thank you, National Gallery!

MOMAhhh
Still in the art vein, the venerable New York City art museum is hosting an exhibit of the works of Henri Cartier-Bresson, the first in the US in three decades. Exploring the entirety of the master photographer’s career, Cartier-Bresson was, and remains, one of my all-time favourites. I recall studying his works in film school many moons ago, and being drawn in by the inherent drama within his photographs. Suitably, MOMA’s website calls him “the keenest observer of the global theater of human affairs”. Yes, his work is indeed theatrical, but it’s also fleshily, gorgeously human and sensuously alive. If this doesn’t push me on to visit France at last, I don’t know what will.

Prima Donna
Presented as part of the 2010 Luminato Festival, “Prima Donna” will receive its North American premiere this June. Awesome Canadian singer/songwriter/all-around music god Rufus Wainwright channels his own inner diva and his passion for the operatic form in creating a work about the fictional faded opera star Regine and the re-examination of her life choices. When it debuted in Manchester last July, the New York Times called the music “impressionistic yet neo-medieval, tinged with modal harmonies”. Hopefully I’ll be interviewing the heavenly-voiced Mr. Wainwright about it closer to the opening. Stay tuned.

Toot Toot
I feel like there’s a big piece of me I’ve been hiding away that should probably come out. In that vein, I’m going to be posting my artwork, photography, and video interviews more often. This video is a favourite from last year. It’s about the award-winning production of “Eternal Hydra” by Crow’s Theatre:

LUCID FORGE

So here’s to embracing… everything… which is everything, after all. I think Lauryn Hill expresses it best:

after winter / must come spring / change it comes / eventually

Carmen Lives!

By Catherine Kustanczy

On June 17, 2009

In ballet, opera

In putting together my recent feature on Goran Bregovic, I’ve really re-discovered and re-embraced my own musical heritage; my father was a professional musician who, though trained at the Conservatory in Pecs, had a real love and hunger for the music of the gypsies -a passion not unlike Bregovic’s, come to think of it. And in the beginning he suffered the same kind of criticism and harshness too, constantly being raked over the coals for choosing “a gypsy job.” But his love for the artform remained undiminished, and it’s what drove he and my mother together.

Their shared passion for music translated into my mother taking me to my first opera, Carmen, at the tender age of four. Talk about a whirlwind for my four-year-old eyes. I don’t think I understood the story very well but I know I loved the colour and vibrancy of the music. Bizet’s work has steadfastly remained a favourite through the years. I’ve seen at least thirty different productions of it all over the world, and most recently saw a ballet version by the National Ballet for Luminato.

So imagine my surprise -and delight -when I discovered Bregovic had composed something called Karmen (with a happy end). You mean my lovely Spanish lady doesn’t get what most men (and women) at the time deemed she deserved? Yay!

Goran Bregovic – Duel
Uploaded by goranbregovic. – See the latest featured music videos.

While it’s strange to see Carmen stripped of the trappings I’m used to -namely guitars, flamenco, and violins -I have to admit that I’m enjoying the re-envisioning of the piece that was my portal into the world of not only culture -but my own personal heritage. With my father’s passing last year, hearing and seeing this kind of riotous, joyful, deeply dramatic work has taken on a new importance and meaning. And listening to Bregovic’s work -including his Karmen music -is a gorgeous sort of homecoming.

Does Dancing Count As Prep?

By Catherine Kustanczy

On June 11, 2009

In interviews, music

Amidst Luminato last weekend (and this), a trip to Stratford the past three days (blogs upcoming -stay tuned), upcoming Pride coverage, and much, much more, this:

I’m interviewing Goran Bregovic tomorrow. He’s playing two concerts in Toronto as part of Luminato. In the weeks I’ve spent prepping, a few things have struck me about his particular brand of noisy, raucous, joyful music -mainly, that it’s just the kind of music my father played. Being born of a family of Hungarian artists, this is the sort of thing he grew up with and absorbed, even as borders shifted, people vanished and names got changed.

What’s so incredible about Bregovic to me is the sense of possibility within his work -for a world without borders, without definition, without restriction. Language, nationality, labels… none of those things actually matter. It’s just good clean sound bringing people together for the purpose of celebration. And it beautifully integrates past and present -and future. This is earthy, real, lived-in music. And it rocks.

This Is What I Mean By “Play”

By Catherine Kustanczy

On June 8, 2009

The key word for the inaugural New Waves Festival (running as part of Luminato) at the Young Centre this past weekend? Playful. Yeah, “play” as in theatre and performing -but “play”also, equally, as in playing-around. Comme un enfant.

Take the Artists in the Closet series. A limited number of people were invited into a weensy little space –okay, a bathroom –to sit and chat with an upcoming Canadian artist for five to ten minutes. My friend and I had the pleasure of being part of Toronto rapper Theo3’s little ‘crib’ –he introduced us to the artists who influenced him growing up (vinyl album covers lined the small perimeter of the loo) and talked about how being in such an intimate environment made him feel both inspired and intimidated. Ha. Says you, I thought, perched on a little makeshift bench (apparently the real “throne” was off limits, with a big ‘DON’T SIT HERE’ scrawl written across the bowl in red sharpie. Art? You decide.).

The rapper also presented his own unique take on Coldplay’s monster-hit “Clocks.” Love them or loathe them, you have to admit, the tune has a good, catchy intro. Theo used it to full effect, playing a loop of it on a boombox as he launched into a rap about his background and interest in rap. Kind of neat to hear him smoothly integrate the past with the present, even introducing his girlfriend, standing shyly around the corner from the entrance with a big, proud grin. Aw.

Equally affecting was the Bedtime Stories feature, in which a violinist/singer serenaded a roomful of strangers, all of us laid out on cots.

“This is like something out of the Hurricane Katrina relief effort,” remarked my friend as the harsh, flourescent-lit room transformed into a dark cave with swirling projections of stars and galaxies overhead.

The scene reminded me of having sleepovers with my childhood buddy, who had a veritable galaxy stuck up on his own bedroom ceiling. We’d hit the lights and walk around with light sabers (okay, empty wrapping paper rolls) as the stars twinkled overhead. Yup, playful, and a direct route back to childhood.

One of the most interesting activities was Seven Singing Structures, featuring, among others, Canadian singer (and YC Resident Artist) Patricia O’Callaghan. The seven entertained onlookers in the Young Centre’s palatial lobby by singing in harmony, with huge, architectural headgear balanced precariously on the performers’ lids. Huh? One singer had the Eiffel Tower balanced atop his head. Talk about your overbearing culture. No matter. Everyone seemed to be enjoying it, and the singing was damn beautiful.

Once the Towering-Headgear Singers finished, fellow YC Resident Artist David Buchbinder played his trademark mix of klezmer-meets-Cuban sounds with a quartet at the other end of the lobby. To quote Jenny Holzer, contradiction is balance.

Outside the Young Centre, Cellular was being presented by actor/director David Ferry and a troupe of Canadian playwrights and performers including Maja Ardal], Florence Gibson, Catherine Hernandez, Kate Hewlett, and Daniel Karasik. the art machine, one of the works under the Cellular banner, and written by Marjorie Chan, involved dialing a number with a cell phone, before following a series of commandments by a disembodied voice (the “Jump up and down” bit seemed to really amuse passers-by, natch).

The voice also queried participants with questions like, “Have you ever stolen anything?“, “Have you ever lied?” and required a public show of hands. You think I’m going to reveal this stuff in public? Ha.

The last question was for the participants to reveal a secret they’d never told anyone before. Ooooh, what a dandy. After a long, awkward pause, one brave participant revealed he’d once … (drumroll)… pinched a baby.

My own mobile unfortunately died midway through (irony, perhaps?) and one of the hosts for the mini-show loaned me his. What my dead-mobile did allow was to note the reactions of participants –glancing at each other for validation, laughing awkwardly, and being generally involved in communicating with a machine, as opposed to one another -which, all told, was (is) probably the point of Cellular itself. It was an interesting juxtaposition of modern communicating and theatre community.

Walking around the Young Centre Saturday, it was hard to believe this was the same building that had housed (and produced, via Soulpepper Theatre) such serious works as Chekhov’s Three Sisters, Shakespeare’s King Lear, and Marsha Norman’s ‘Night Mother. The Centre’s resident artists have created something that allows for participating as well as communicating, juxtaposing, and –perhaps most importantly –playing. Play, what it means and how it’s perceived, is what’s being examined -an celebrated. Hell yeah. Play on.

Addendum: For more photos from the New Waves Fest, check out my Flickr photostream.

Sing & Dance & Run & Jump

By Catherine Kustanczy

On May 15, 2009

Thanks to Twitter, I came across a wonderful op-ed piece in the Amherst Bulletin about the importance of arts funding. There’s certainly been no shortage of wonderful news relating to the arts this week: the appointment of Rocco Landesman to head up the National Endowment for the Arts, the White House arts evening, and even, if you can believe, the Seattle Opera advertising their position for a young person to see and report on the Wagner Ring cycle they’ll be producing in August.

But then there’s the bad news: in Canada, several important arts institutions are facing funding shortfalls. With the wonderful chaos of June approaching (Luminato, NXNE, the Toronto Jazz Festival, Pride), the issue of cultural relevance is that much more pungent. There’s also the depressing fact that Canada’s art galleries and museums are falling apart , meaning that many younger people -as well as visitors from overseas or across the border -may never be able to see the incredible cultural legacy of this country.

Would any of this happen if there was a real balance of arts and academia in childhood? I was lucky to have been educated in the arts outside of school; going to operas, symphonies, museums and galleries was plus normale for me growing up. But not every kid was blessed with an arts-loving mother. And so, it falls to schools to often provide what kids can’t or don’t get at home. That usually includes everything from proper nutrition to social interaction to basic manners.

What irks me is that whenever schools are facing funding shortfalls, the first thing to go is always, inevitably, arts programs. Yup! They’re frilly! Arrgh. I used to make a face and wonder why physical education wasn’t cut instead (spoken by a true non-athlete), but I realized, in starting to appreciate the cultural place sport has in society, and the benefits of movement, that phys-ed has every right to be taken as seriously as arts-ed. And vice-versa.

To quote Mindy Domb, in the Amherst Bulletin:

Art and music teach our children how to think critically, take risks, make and correct mistakes, “fail,” and recoup. They give our children a frame of reference for understanding not only our world, but also offer an appreciation and understanding of the different perspectives, approaches and ways of communicating each of us brings to the human endeavor… Cutting physical education while the public health community urges additional opportunities for physical activity for children seems regressive and backwards. Physical education might look like an easy mark, a target that can be tapped for funding without ill effects. This, however, dismisses the needs of our kids to be active and to learn from play. It also ignores the call of the public health community to provide more physical education for young children, not less.

These times we’re in seem like the perfect opportunity to start making investments, not pulling away in fear. The investment in a lifetime of good health and positive relationships seems like a good one.

Related: If you haven’t read Christopher Knight’s take on Landesman’s appointment to the National Endowment for the arts, you really should. It’s excellent.

Talking, Past

By Catherine Kustanczy

On March 8, 2009

In opera

Spending this Sunday prepping for a busy week, I received an email from a Toronto artist and photographer who shared a recent experience shooting a visiting celebrity. It lead to a series of exchanges around the nature of fame, the demands of blogging, and the ways some artistic disciplines translate visually. Expressing his frustration with photographing theatre, he wrote, in effect, “they were just talking. How is that interesting?” Good question -not just for photographers, but for audiences, theatre directors, and companies. He continued:

Maybe I’ve just seen too much theatre recently, but the monologuing of character interaction – where two characters talk past each other rather than to each other – and the lack of passion, emotion, or even dramatic moments seems to be areas where someone could be writing something different.

Don’t you sometimes come out of a play thinking it wasn’t really any different than many others you’ve seen?

Surprisingly, I found myself agreeing with him -though I reminded him that the Robert Lepage work Lipsynch is coming in June. But still, yes, on a personal level, I am sick of talk, or talk-and-shock. I’ve seen some great works, unquestionably, but they’ve been very text-centric, and indeed, after a while, they do begin blurring into one another. To me, theatre is more than talk, and good directors will understand the myriad of possibilities at their disposal. Regardless (or sometimes because) of budgetary limitations, creativity and inventiveness are always the hallmarks of great theatre.

So it was with some interest that I came across this recent post about Operation First Casualty. Visceral, immediate, timely, and unabashedly milking the idea of spectacle, IVAW gave San Francisco residents something to talk about. I have a feeling this kind of theatre affected those who experienced it on a far deeper level than words could ever reach.

Staging War

By Catherine Kustanczy

On November 29, 2008

In opera

I came across a fascinating piece on the art of staging warfare yesterday. Written by British freelance journalist and indie theatre director Imogen Russell Williams, the piece explores the whys and wherefores of staging war onstage, noting, quite rightly I think, that most theatre directors revert to some kind of cinematic equivalent in depicting fights. In reading her description of shadow play and slow-motion moves, I couldn’t help but think of the innumerable productions I’ve sat through where both were utilized, along with pyrotechnics. To quote Williams:

Bang! Flash! Up goes a huge pile of money in undulating smoke. We’re supposed to find it impressive that such crashes, bangs and wallops can be achieved even though we’re in a theatre, not a cinema. But it’s probably the uniting factor in bad stage warfare that director and production team are determined to pull off the cinematically spectacular even though they’re making a play, not a film.

This explains (at least partly) why I didn’t like Black Watch, part of Luminato this past summer. Or why so many productions of Shakespeare (and one of Marlowe) in Stratford have been disappointing; lost in the wonder of great acting, design, and staging, I’ve found myself jolted out of the spell by ridiculous, over-the-top fight/warfare scenes.

Note to theatre directors: try talking with some of this city’s awesome puppeteers. Work with them. They’re super-creative. Incorporating puppetry is just what The National Theatre in England has done with War Horse. Williams says this production changed her mind about the depiction of war onstage, and from what I’ve read, the piece seems genuinely moving, and thought-provoking. Puppets aren’t just for kids, and never have been.