Mortal Engine

A few weeks ago I found out that Chunky Move were touring to London to perform Mortal Engine at the Southbank Centre.

I am going to see Chunky Move, I told the Husband. Can you look after Dragon that night?

Who is Chunky? he asked. Why do you want to see him move?

Chunky Move is an Australian contemporary dance company based in Melbourne, Victoria. Founded by Gideon Obarzanek in the mid 90's, they have been on my radar since 2003 when I lived in Melbourne and took classes at their studios. Their HQ resembled a big bar of chocolate which had been gnawed at by a giant rat:



Cadbury or Nestle?

Inside the windowless studios which were painted a honeycomb yellow, I would take weekly contemporary classes, wondering if I would catch a glimpse of Mr Obarzanek looking artistic and moody. The dancers from his company often taught our classes and over time, I came to view Chunky Move as a dance home by default.

Artistic? Moody? Nah....

On Saturday night, I was the first to enter the empty Queen Elizabeth Hall theatre. As I took my seat and watched the audience come in, I saw Gideon Obarzanek walking down the aisle, takeway coffee in hand, looking like, well, Gideon Obarzanek. I felt like shouting Hi! before I realised he did not know me even though his company felt like a piece of my past.

Mortal Engine is known for being a contemporary dance piece which wholly embraces motion capture video and sound responsive projections as part of its choreography. The technology utilised is not an adjunct to the piece but very much an equal performer in its own right. In his notes, Obarzanek, describes the work as a dance-video-music-laser performance.

Usually this kind of thing turns me right off a dance piece. I often feel that if the work is good, it doesn't need the flashiness of lights and lasers to embellish it.

Mortal Engine proved me wrong. As I watched the piece unfold, I marvelled how he had seamlessly integrated all the different components together to create some wonderful performance moments that were fresh to my eye. The sceptic in me got a big slap.

There was also slightly too much laser and noise work at times, making me feel as if I were trapped in a bad rave venue. And some choreography which made me wonder if Obarzanek is bored with bodies.

Nonetheless I left excited about what this work it meant for the future of dance. And curious as to how quickly all the London creatives in the audience that night will start to adopt these methods into their own work.

Congrats Gideon. Good job.


 

James Lovelock

I was a teenager when I first heard of the Gaia hypothesis. In Oz, we learned that the amount of CFCs emitted by our spray aerosols, refrigerators and so on were contributing to the phenomena known as the Greenhouse effect. We heard that these CFCs were creating a hole in the ozone layer which protects Earth from being burnt to a crisp by the Sun. This was big news in Oz, a place where the sun is so strong you can feel it burning into your skin on hot days. Suddenly we all started using roll on deodorants and pump sprays.

James Lovelock is the man who discovered the build up of CFCs and coined the Greenhouse effect which is part of his larger Gaia hypothesis. His view is that Earth is part of a self regulating, living organism of which the human species is but an element. Due to the impact of human activities on Earth, the median balance of this organism is shifting, causing a rise in the average temperature on Earth. Put it this way. It’s as if the human body temperature rose from an average operating point of 37 degrees celsius to 42 degrees. What would happen to us as a species? Some of us would die but over time, perhaps our bodies would adapt, evolve and our species might live on in an altered way.

I went to see James Lovelock last night in conversation at the Southbank Centre. For an eminent scientist/philosopher in his 90’s, he did not disappoint. His brain was sharp and irrigated and his views were not those of a harbinger of doom as he is often portrayed (unfairly, I feel) in the media. His approach seemed based on empirical evidence and he fully acknowledged that science does not have all the answers and is based wholly on probability. He spoke about the need for scepticism in science to challenge views of people like himself. The area for which his scorn was reserved was that of politicians, climate boards and scientists who fudge data in order to affect policies. I felt that I was in the presence of someone truly learned whose vision is before his time.


It was bitter sweet to see in the flesh someone whose learning and advice will accumulate resonance as the years roll on, long after he has passed. I feel sad about this but for many great thinkers in human society; this always seems to be the way.

All the more pity for us.

'Tis the Silly Season

Since I moved to London, I’ve come to experience the months leading up to Christmas as being high pitched and action packed. In anticipation of the holidays and perhaps in an effort to stave off the dark gloom of winter, the sheer amount of social and cultural activities for everyone seem to quadruple as does the desire to attend every single thing possible. It’s a marathon few months run at break neck pace. By Christmas, we are all exhausted and fall down post Xmas in a crumpled, sodden heap.

The lead up this year has been no exception, crammed full with catch-ups with friends, parties and shows galore. London at any time offers a veritable feast of rich pickings and in the last few weeks I’ve been to several shows. Here is a snapshot of each:

Michael Clarke Company

With Kate Moss as a patron, Michael Clarke Company is well situated in positing itself as the cool, hip kid on the block of contemporary dance. Presenting a revival of his 1986 classic, Swamp, together with a medley of pieces set to music by Iggy Pop, Lou Reed and David Bowie, Clarke had his unitard clad dancers performing gymnastic, Cunningham-influenced choreography that reminded me of moves executed by the Chinese gymnasts in Cirque du Soleil. Clarke’s ascetic, constrained style may appeal to some but I prefer my dancers with a little more expression even if it means a little less épaulement.



The Blind Boys from Alabama

I have always wanted to attend a Gospel revival and on a cold, winter’s night at the Barbican, I got my wish. The Blind Boys bounced onstage in their sharp white suits and showed us the meaning of puttin’ on a show. Slightly diminished in number (one had died the week before and another had been waylaid in transit), they nonetheless raised the roof with their rich, booming voices which resulted in a concert unlike no other. By the end the entire, and I mean entire audience were on its feet dancing, shouting, clapping, hooting and singing. If I could've bottled the atmosphere there that night, I think I would have captured the essence of joy. Eau de Joy courtesy of the Bad Boys. Hallelujah Amen!

Cat on a Hot Tin Roof

When the husband told me that we had tickets to go see Tennessee Williams’ classic play, I wasn’t sold. Unlike him I am not a sci-fi geek so the thought of James Earl Jones (voice of Darth Vader) starring as Big Daddy did not make my head turn. But there are worse ways to spend a Friday night so I went along. The minute the Big Man strolled onstage in Scene Two, a quicker reversal of opinion you never saw. His rich, mellifluous voice delivered line after gorgeous line which combined with a dynamite stage presence and solid, assured acting held me in thrall. Mid scene his stage prowess was in full flight; tearing up the boards and eating Adrian Lester for breakfast. His relative absence in Scene Three left a huge belly-shaped hole in the acting which made me want to shout out, Come back Daddy Darth! Show these youngsters how it’s done! James Earls Jones. The man’s got acting in his bones.



Susie Orbach and Marin Alsop

My friend Cassandra and I went along to Southbank last night to hear Susie Orbach and Marin Alsop talk about women in leadership. In 2007 Marin was appointed director of the Baltimore Symphony Orchestra and was the first woman to be appointed as such in America. Susie is a psychoanalyst, lecturer and well–known author, with the phenomenal anti-dieting treatiseFat is a Feminist Issue under her belt as well as the more recent, Bodies. She is also the co-originator of the Dove Campaign for Real Beauty and convenor of the website AnyBody. To cap it off, Shami Chakrabarti, director of the human rights organisation, Liberty chaired the event. In the presence of such luminaries we expected interesting discussion and we were not disappointed. Marin spoke about the complexities of being in a leadership role where she found herself a female role model simply because of the sheer lack of any others in her field. Susie was more keen to examine the psycho-social reasons why women still do not 100% feel they can grab hold of the brass ring. And that when they do, why their leadership style has to emulate that of men to be deemed as “real” leadership. After all, she said, Women have been leaders for centuries as guardians of the home but that intimate, complex style of leadership is not regarded as valid. Why? The night ended far too soon and we walked out, our heads filled with questions and a brightness of purpose that being inspired will do to you.

They say there is no rest for the wicked and that's true in my case as the week ahead brings me to see the sexy man of dance Carlos Acosta showcasing Apollo & Other Works at Sadlers Wells and also to hear the great Ranulph Fiennes, explorer extraordinaire talking about his adventures at the Royal Geographic Society.

I'm knackered but I can't wait.