MIAF 2008
Two Faced BastardChunky Move and Melbourne International Arts Festival
11 October 2008
Arts House
What can you say when a performer declares that they don’t like reviews that describe the experience of a show and that there’s no room for flippancy in reviews, because the artists are too highly invested in the work? “Umm…you are really good looking and I liked the beer I had at the bar…” Surely, if there is room for flippancy on the stage, there is room for flippancy in a review?
Chunky Move’s Two Faced Bastard is about duality. It’s directed and choreographed by Lucy Guerin and Gideon Obarzank, and explores the on and off stage aspects of theatre and the “Jekyll and Hyde” nature of performance – seriously and flippantly.
The stage is split down the middle with the equally split audience on either side. Each side only see half of the show, whilst glimpsing and hearing the other. Stage and backstage become one, as the exit to one is the entrance to the other. (Sorry to ruin the experience – but even the program guide gave that away.)
Audiences appear as equally split in their opinions about its success. I really liked the mystery of what was going on beyond the curtain, but in the Q&A after the show, nearly half of the remaining audience indicated that they thought they missed out on something.
Two Faced Bastard was created though workshops and a series of development performances. The process is still very clear on the stage, especially as and performers (actors and dancers) discuss their opinions and fears.
The questions are fascinating and this festival is the ideal place to ask them. However, I felt that the concepts weren’t explored beyond an almost obvious level. I don’t think it’s a revelation that performers are scared of stuffing up on a stage or that artists continually ask if they are creating to please themselves or an audience. I would have liked to see the creators express a firmer opinion, rather than just offer the questions. I'd love to know your answers.
Being on the non-dance side of the room, I didn’t see much of the dance, until the final scene when the curtain is withdrawn. These final moments were stunning, and expressed the concept of the show more simply, succinctly and easily than what went before.
The process seemed like a lot of fun, but the final product still seems to be finding itself. After the performance, Obarzank said, “It’s searching for itself and I’m quite happy about that.” Perhaps that is the answer I’m looking for.
This review appeared on AussieTheatre.com
