The Age I'm In

Force Majeure

Theatre Royal, Hobart

Thursday 3 June 2010

By Anneliese Milk

‘It’s not about how old you are, but how you are old.’

At twenty-five I panic! I fret! I should have done this, been there, seen that and have one of those. Age is intrinsic to our perceptions of one another. We impose a different set of expectations on someone who is thirteen than on someone who is thirty. Age alters our bodies. It is physical. It is ephemeral. It is definitive. But as The Age I’m In illustrates: it is also meaningless.

The Age I’m In

Force Majeure
Theatre Royal
June 3 & 4, 2010
By Anica Boulanger-Mashberg

I’m linguistically opposed to the word ‘vignette’ – it is nonchalantly overused and often carries negative connotations of being superficial or somehow nominal.

However, vignette should also carry connotations of embellishment, elegance, delicacy, and evocative detail. My beloved Oxford dictionary defines photographic portrait vignettes as images with ‘...the edges of the print shading off into the background’. How poetic.

It is with conscious allusion to both the superficiality and the lovely poetry of the word, then, that I say The Age I’m In comprises a series of vignettes which are each a melange of voice-over, soundscape, dance, theatre, gesture, humour, digital illustration, intimacy, and humanity. The cast of ten navigate their way through a series of relationships, narratives, and encounters, encompassing topics as diverse as religion, cancer, adolescence, disability, and motherhood.

Don't Think Twice

A Double Bill:
Partly It’s About Love... Partly It’s About Massacre (Fiona Sprott) and
Andrew Corder Thinks Twice (Finegan Kruckemeyer)
Tasmanian Theatre Company
Backspace Theatre
May 27, 2010
by Anica Boulanger-Mashberg

If you think you can’t make fantastic theatre out of one actor in one small theatre, then think again. Think twice, if you will excuse the cheap pun.

As a rule, I don’t adore one-person shows. I find them hard work, and I get lonely: I crave interactions on stage. But with the Tasmanian Theatre Company’s latest offering, I am reminded that restriction is not always a negative, but rather can be the generator of great beauty and surprising moments.

The Company I Keep

Performed by The Second Echo Ensemble

Peacock Theatre, Salamanca Arts Centre, Hobart

Thursday 20^th May 2010

By Anneliese Milk

She loves me. She likes me. He is my son. She is my sister. He is my enemy. He catches the same bus as me. She has our mother’s eyes. She is our mother.- Finegan Kruckemeyer

Despite our many differences we all experience the same breadth of emotion and nurse the same desire to be loved. Although our relationships may be unique, complex and varied, we each form the nucleus of the ever-evolving company we keep. At the same time, we all experience times when we have no company at all.

Online (fishing)

Curated by John Vella
Plimsoll Gallery, Centre for the Arts, Hobart
Friday 21st May 2010

By Anneliese Milk

How long is a piece of fishing line? The answer depends on the artist using it. In Online (fishing) curator John Vella has reeled in a small and exciting group of contemporary Australian artists by using fishing line as ‘bait.’ Featuring the work of four artists and one artist collective, Online consists of five separate installations aligned solely by their use of fishing line.

The Company I Keep

Performed by the Second Echo Ensemble
Tasmanian Theatre Company and Cosmos
Thursday May 20, Friday May 21, Saturday May 22
Peacock Theatre

by Stephenie Cahalan

Eleven actors on stage and many more on a screen, minimalist lighting, movement, soliloquies on love, nervousness, wanting to look and be our best. The need for approval. The need for love.

This is essentially what The Company I Keep explores, and does so artfully and engagingly. The story stands alone and would work for any cast, be they professionals or amateurs, from any background. This cast happens to include five people who might be considered intellectually disabled, yet are clearly emotionally intelligent performers and highly competent actors. Creator and director Finegan Krukemeyer has made a piece of theatre that makes the stage a level playing field for every person that occupies it; a liberating experience for performer and audience alike.

RENDEZVOUS

Rhonda Voo with the Croo

Exhibition /Installation/ Performance / Residue
Entrepot gallery, Hunter St, Hobart.
9-5 daily until May 20th

By Gai Anderson

If you have a chance this week, get down to the Entrepot Gallery where a group of artists continue to play together responding to the word ‘Rendezvous’ through performance and live art. They aim to keep the space “alive” and inhabited by changing artists on a daily basis. Following the “live “ creation in the gallery, a trace or residue of the work is left to accumulate over the weeks of the exhibition, leaving tantalising, exciting, and sometimes oblique traces of what has happened here.

ArtRage 2009

Tasmanian School of Art, Centre for the Arts, Hobart

Friday 7^th May 2010

By Anneliese Milk

When the work of eighty secondary school art students from across the state is brought together under the one roof, you can expect the atmosphere to be diverse and electric, with the occasional nuance of teen-angst. Presented by the Queen Victoria Museum and Art Gallery, ArtRage 2009 encapsulates all of that and more. It is an engaging and sprawling exhibition representing every possible medium, theme, colour and emotion.

What is initially striking about these emerging artists is their evident mastery within their chosen mediums. A sweeping statement, perhaps, yet a large portion of the work on display is as technically sound as you would expect to encounter in the work of artists twice their age.

XYZ Poetry #1

On a ‘school’ night, the likelihood of finding the time to listen to a Bach concerto, have a glass of red, and write some poetry is, for me, very slight. Admittedly, time isn’t really the issue, but rather the lack of energy and inspiration. Yet when Fullers’ reading and cultural community XYZ announced its inaugural writing event, Poetry #1, I began to see how it just might be possible to indulge in the aforementioned activities while still only three-quarters through my working week.

XYZ prides itself on being informal, unstructured, contemporary – and its poetry night is no exception. After a brief welcome and a reading of ‘Hens,’ a lovely lyrical poem by eminent Tasmanian poet Sarah Day, we were gently invited to pick up our ‘scribbling instruments’ and write some poetry of our own.

There was no topic, no time limit, and no obligation to share our work. Nevertheless, our small group quickly dispersed around the cafe and fell into a studious, albeit poetic silence as we focused on that rewarding task of putting pen to paper.

Despite its lack of structure, XYZ’s poetry night craftily puts poetry into your busy work schedule. With a free glass of wine in hand as you browse through Fullers’ books to the strains of Bach, casually jotting down a line of poetry or two, whoever said there wasn’t time for lofty cultural pursuits mid-week?

Art at the Brisbane

The Nook and Cranny Gallery @ The Brisbane Hotel, Hobart

Tuesday 4th May 2010

By Anneliese Milk

The Brisbane Hotel’s take on exhibiting artwork is as refreshing as a cold pint of cider. At the Nook and Cranny Gallery, there are no pretensions, and there are no rules. Requesting only your enthusiasm and the desire to have your work seen, Art at the Brisbane is an open invitation to all members of the community to make some art and put it out there. With a new show launched on the first Tuesday of every month, Art at the Brisbane is a constantly evolving, community-rich project.

TAS BLOGGER WINS INTERNATIONAL GIG

WriteResponse co-founder and blogger, Kylie Eastley is one of two bloggers, the other from North America, who has been selected by the Huffington Post to cover the World Social Enterprise Conference in San Francisco.

A city needs a composer

Dean Stevenson and the Arco Set
Friday April 16
Peacock Theatre


Presented by the Salamanca Arts Centre and Dean Stevenson


by Stephenie Cahalan


A city needs a composer to write its story in music. Be it the story of a suburban kitchen or a streetscape, a composer writes stories with music, like a photographer tells a story using light. They are like the playwrights that make work for local actors; the tailors that bespoke clothes of a place, era and climate or poets who capture the colours that cross their path.


From the perspective of a non-musician, the thing that seems to mark a composer is that they think beyond the instrument they are playing , to the layers of a composition that provide a platform for the talents of other musicians.


Dean Stevenson achieved this with the Arco Set, a group of young, skilled, local musicians who played on Friday night at the Peacock Theatre. The evening offered a repertoire of works written for both Stevenson as solo performer, the band and the Cloud Suite written for the small orchestra. There was something about the Peacock's intimate setting and the collection of strings that took me back ten years to a show by My Friend the Chocolate Cake. Like David Bridie, Stevenson neatly combined casual guitar with conventional orchestral arrangements to make music that was utterly original and captivating to the audience.

The Perfect Circle

by Stephenie Cahalan

Studio Theatre, Mt Nelson

On the whole musicals are not sexy. Not exactly ‘now’ multi-media, not classical, yet not avant garde. Often, the lure of a musical lies in its rehashing of a favorite story, a stellar cast or phenomenal staging and effects accommodated by a monster budget.

And so, it is a tribute to the talent and determination of contemporary artists that they choose to work with a medium that does not always loom as the first choice of theatre- goers. The Perfect Circle – A New Musical is directed by Nicholas King, Charlea Edwards and Craig M Wood, who has also directed the music. As with all musicals, it manages to take the full spectrum of emotions and give them a place on the stage in a fashion that is so clearly not reality in its method (how many of us break into song mid-conversation?), but so evocative of the reality of life, love, loss… the whole deal.

The Perfect Circle

Preview: Studio Theatre, Mount Nelson
10 February 2010
by Janet Upcher

What is it that humans yearn for? What drives us on and what completes us?

This innovative musical drama, a thought-provoking series of interwoven narratives linked by the music and lyrics of Craig M. Wood and Nicholas King, suggests we’re all involved in a constant quest for the perfect relationship and a sense of eternity. Love seems a circular, often frustrating dance where misunderstandings and rejections occur and time mocks us with our own transience and separateness.

MONA FOMA

Eight Hands: Variations on the Theme ‘Piano’
John Cale, Paul Grabowsky, Andrew Legg, Gabriella Smart
MONA FOMA
Theatre Royal
January 22, 2010
Anica Boulanger-Mashberg

Despite the show’s title, there were never more than two hands on the piano at any one time – each artist performed solo. Although if you had your eyes closed, you could have been forgiven for assuming that there was more than one musician playing; such was the energy, musical intelligence and pure scope of notes.

Andrew Legg indulged his love of, and expertise in, American gospel music. His discussion between pieces was enlightening, though when he recited lyrics it did undermine his assertion that the music ‘speaks’ without vocals. Certainly the music was rich, full, and powerful, but we are so accustomed to gospel as a physically uplifting vocal experience, that listening from our formal theatre seats to those songs distilled into an instrumental essence felt odd. Fantastic, but leaving you aching a bit to hear Aretha.

Gabriella Smart presented a delicate collection of works by 20th and 21st century composers, including Alvin Curran’s ‘For Cornelius’ – a highlight of the evening. The second section of this work, an epic Philip-Glass-esque experience, is a sustained, repetitive, pulsing collection of very close chords which (under Smart’s sensitive performance) was simultaneously meditative, tense, agitated, mesmerising, exhilarating, and yet incredibly still. Smart’s performance embodied a desperation for release and resolution, and at the same time as a desire to be fully and eternally suspended in that sound.

After interval, we were treated to Bach’s Goldberg Variations, à la Grabowsky. Parts were beautiful; parts were surprising; parts were jarring and quite hard work for an audience; all was focussed and intense. It was as though someone had swallowed Bach whole – along with plenty of alcohol – then hiccupped some back up after dinner; had a long sleep filled with nightmares about the meal; woke with a strange aftertaste in the morning; then went out for a Sunday brunch and recounted the whole story to a dear friend in the warm autumn sun. Perplexing, challenging, and quite remarkable.

Finally, Cale performed two short improvised works which echoed the repetitive and hypnotic second half of the Curran. Both works were warm, melodic, strong, quite peaceful and somehow magnanimous as an end to the evening. A gorgeous parting gift.

Just as there were only two hands at a time, so there was only one piano – but under each pair of hands it became a completely different instrument (in Cale’s case, literally, as an electronic echo/delay was added to the standard amplification). The variety of relationships between performer and instrument was apparent not just in musical style but in physicality – Legg and the piano worked as a team; Smart’s body curved around the piano as though it were fragile; Grabowsky sometimes treated the instrument as a hazard; and Cale spoke through the piano as clearly as if it were a voice.

With no printed program, each pianist gave their own introduction to their pieces (Legg and Smart offered extensive historical backgrounds, Cale simply announced titles, and Grabowsky didn’t speak at all – though Brian Ritchie was on hand to offer an introduction). This added to the sense that the evening was a chance to eavesdrop on each musician’s individual relationship with their work and with the instrument: variations on the theme of ‘pianist’.

Grand Master Flash

Acumen Feat DJ Grotesque, Seth Sentry, Jack Viney
21 January 2010
Princes Wharf 1 Hobart

By Keith Churchill

An amateur sociological analysis from yours truly (MC Write Response) would hazard a guess that around 70% of those attending Grand Master Flash et al. would not have been conceived before the commercial release of “The Adventures of Grand Master Flash on The Wheels of Steel” in 1981. Given this “fact”, the healthy-sized crowd is testament to the legend and reputation that proceeds the man who (and he reminds us more than once) turned the turntable and vinyl record into an “instrument”.

The support act DJ Grotesque, with crew Acumen, illustrated just how far this musical genre has evolved from purpose built analogue mixing desks and diamond needles on vinyl records to mp3 music files on decks and laptops, scratching, mashing and mixing tunes set to a stunning video track on the big screen with some fine v-jay work. Eclectic would be an understatement when describing their source material ranging from prog-rock to pop to metal to soul including a nod to the festival curator in a Violent Femmes tune. Matching “Son of a preacher man” to a reggae beat was simply wrong but it worked!

Prior to Grand Master Flash’s arrival on stage a mini-documentary testified to his pioneering mixing skills providing a detailed description of his revolutionary handling of a vinyl record.

Initially Flash’s side-kick did some DJ work whilst Flash forcefully explained the three rules of the hip hop party that the audience were to abide by in order to have a good time. These included: 1. Make a noise when told to (generally roar), 2. Put your mother f@#*ing hands in the air when told to, and 3. Sing the song when told.

After Flash’s commandments had been handed down he and his side kick reversed roles and GM Flash launched us into that old chestnut “We Will Rock You”, with the bass-heavy mix literally vibrating my internal organs (thanks for the free earplugs MoFo).

Being a long term disciple of the punk rock genre, I was seriously concerned about my ability to deliver on commandments one to three, particularly as I have an aversion to anyone commanding me to do anything. However the seething mass around me up front were more than compliant for the next one and a half hours, moving like a single organism as Flash, with his signature old school scratching techniques, served up tunes that anyone having lived in an English speaking part of the planet with access to a radio over the last thirty years would know, including his signature tune “the Message”.

When reflecting on the night there is no doubt that Grand Master Flash’s reputation for being able to fire up and work a crowd is well deserved, but I can't help but see him as a museum piece trotting out the same old call and response routine (insert city name here…) over the same old tracks as though stuck in some sort of musical cul-de sac while the other DJs continue to evolve the art.

King Cale

John Cale and Band
Wednesday, January 20 2009
Hobart Town Hall

By Janet Upcher

Hobart’s sedate Town Hall was never so animated as on Wednesday evening, January 20, when John Cale – legendary classical and rock musician – and his band comprising guitar, percussion and bass, galvanised a capacity audience with a stunning performance.

Cale’s musicianship and virtuosity shone more brilliantly with every number and just as impressive were his energy and passion. Unlike many ageing former rock stars, he made no attempt at a trendy youthful image: he didn’t need to. Quite simply, John Cale is timeless, ageless and oh-so assured. The technical competence and genius of his accompanying musicians reflects the exacting nature of their maestro. The electronic acoustic effects produced powerful volume and, mostly, a good balance,although occasionally over-amplified.

Tentative for the first few minutes, the show subsequently never lost pace, with Cale moving seamlessly from piano to keyboard, from acoustic to electric guitar, all the while proving his amazing versatility, changing tempo and mood with each piece. His extensive vocal range sometimes evoked Leonard Cohen, sometimes Neil Young and beneath it all was the resonance of his Welsh voice and the backing of a great band.

For ninety minutes, they created an uninterrupted musical feast, entertaining fans aged from 17 to 70, all devotees of Cale’s unique brand of experimentation and innovation. From favourites like ‘Dying on the Vine’, ‘Style It Takes’, and the dreamy mood of ‘Buffalo Ballet’, he ventured into more surreal nightmarish distortions in ‘Heartbreak Hotel’, before culminating in Cohen’s ‘Hallelujah’, bringing cheers from the audience. Even this rather popularised piece seemed re-invented by Cale’s voice, enhanced by a great instrumental arrangement. After his exit, the entire audience stood clapping, clamouring for more – the reward was a stirring encore: ‘Paris 1919’.

After four decades of creativity across many genres, maybe the only predictable thing about John Cale is that he will never grow stale.

Eclectic is the word!

MONA FOMA Festival
Thursday nights offerings
By Gai Anderson

48 FUGES FOR FRANK ZAPPA

The Bond Store at the Museum and Art Gallery, is an ancient Four - floored building of stone and hand hewn beams. The smell of the earth rises up from the lower ground to meet the furious piano sounds of Keiran Harveys “48 Fuges For Frank” - a musical homage to the life and work of Frank Zappa. Four different keyboards are played on four different levels during the performance, set amongst the varied and entertaining art and poetry of a group of local artist / Zappaphiles, as curated by Leigh Hobba.
As Harvey moves between the floors, the audience, seated by the grand piano, is linked to the performance by video screens.
Harveys intriguing and intense compositions were mostly performed on the grand piano, and played with amazing dexterity and focus. His hands furiously running back and forth across the keyboard were stunning. But I found the moments on the other keyboards the most interesting musically, an old pump organ, a portative pipe organ, and a Kawai electronic keyboard , (my personal favourite) ,- and to be honest most reminiscent of the earlier phases of doowop / rock / jazz inspired Zappa music that I love.
I must admit I am not conversant with the later works which inspired this concert, and so I found it a bit hard to penetrate, and wanting for some of the humour that is such a mark of Zappa . But perhaps I just don’t know how to read the musical jokes in this?
I would have loved Harvey to dance up and down the stairs between instruments but hey I did leave laughing at the “Hot Rats” of Matt Wards sculpture scurrying about on the top floor.

I then rushed off the Princess Wharf 1, which has been transformed again with an astro turfed front lawn, and is pumping with (mostly)youngsters lounging on bean bags watching the video wall.
I found some delicious South American Inspired food , before I run back up to the Town Hall for …

PAVEL KAHOUT and NATSHA KALOUS
The chandeliered Town Hall was filled to the max with yet another sort of crowd – mostly older – the symphony crowd I guess - all here for a pipe organ and oboe concert. The virtuosic performers present a variety of classical and more modern pieces .
I was totally transported by the combination of these two beautiful voices, the oboe looped around the room with such clarity above the more grounded sounds of the huge organ pipes, set into the back wall of this incredibly opulent space.
I realised how demanding an instrument can be as I watched the great effort of Kalous filling her lungs at the behest of her oboe, and the intense focus of Kahout at his multi voiced keyboard.
The crowd cheered and after a standing ovation and encore I rushed off with my head still full of divine sounds back to PW1 …

… to catch the very end of Helmet Head, and with just enough time to get a drink and watch the video wall for a moment...It was busy now, young and old together, filling up the bean bags in front of the stage waiting for the next band.

THE CUMBIA COSMONAUTS
A group of young Melbourne musicians in space suits, who were instantly infectious. The crowd was up and dancing, whilst science fiction and jungle images flashed across the giant screen behind them. What a way to end the night!

Go MOFO !
It’s a great PARTY , wonderful music , fantastic performers, all sorts of great ART .
There is something for everyone and just about all of it is
FREE !
So get into it – no excuses.

Gai Anderson is a Cygnet based writer and performer .

TIMEART

by Kylie Elizabeth Eastley
Sometimes the best thing is not to question or analyse, but to experience. TIMEART provided the perfect opportunity to do this as the four musicians captured the audience in a 30 minute performance at the Peacock Theatre.
On the darkened stage with only dim spotlights, artists from Germany, France and Norway improvised sounds amidst linear shards of light and scratchings projected onto the players and stage.
Described as the ‘the International Ensemble for Intermedial Improvisation’, the group are part of a larger collection of more than 30 musicians who perform in smaller groups at various festivals and events.
For MOFO audiences TIMEART provided an audio and visual indulgence.
A slide trombone, oboe, guitars combined with an array of other noise makers and electronic effects to create organised chaos.
With eyes closed, it could have been a singing kettle or the sounds of urban life. It was a case of shut your eyes and hear the world.
This was another exhilarating, witty and thoroughly enjoyable moment in a packed program. A great experience.
www.mofo.net.au

DRIVE WEST TODAY

By Kylie Elizabeth Eastley
MOFO 2010
Peacock Theatre
Wednesday 13th & Sunday 17th January

Throughout the MONA FOMA 2010 program there is a selection of tiny morsels that are accessible, interesting and challenging. DRIVE WEST TODAY is a collaboration between Hobart based musician and sound artist, Josh Santospirito and Melbourne audiovisual performer Anthony Magen that is well worth experiencing.
Individually, they improvise a range of unique sounds and images that collectively create a sense of harmony, rhythm and tranquility. The small audience who gathered in the Peacock Theatre to experience this collaboration was transfixed by Magen’s images projected onto the quarry rock face that is the backdrop of the intimate theatre.
Using a video camera affectionately known as ‘Elmo’, Magen projects fragile and intriguing images with the use of such ordinary objects as tea candles and beer glasses. Reminiscent of tadpoles, fish eggs or microscopic organisms they wriggle and twitch.
Santospirito responds to the images, improvising with his two electric guitars and a selection of effects pedals to loop, layer and mesh the pluckings, strums and sounds he draws from his instruments.
Never having worked or performed together the pair meld beautifully. Organic images and sounds emerged from both artists who linked musicianship with technology to create a strong cohesive piece of work.
The pair performs together in six shows, with the last three shows on Sunday 17th January.
Anthony Magen also appears alongside performing artist Rod Cooper in HELMETHEAD in a series of shows at the Peacock Theatre.
www.mofo.net.au