Facing Death [FringeTIX]
Mary Walker Productions @ Mercury Cinema
1:00pm, Fri 6 Mar 2009
Facing Death is a mixed-mode performance inspired (not quite the right word, given the subject matter at hand) by the Kübler-Ross Model of dealing with tragedy. The Model’s Five Stages of Grief (Denial, Anger, Bargaining, Depression, and Acceptance) form the basis of this performance, with explorations of the stages in the form of dance, expressionist theatre, with live music backing.
In keeping with the Stages, the performance was broadly broken into five Acts. Each had its own tempo; the live drummer provided constant percussion throughout: from a slow, almost inaudible throb to driven, aggressive pulses. Lighting, though simple, was effective; limited strobing provided impact, and the use of shadow was divine. As for the physical components of the performance… well, it varied. It was, of course, focussed on the intent of the Stage in question, tied to the tempo of the drums, and was largely successful in terms of expressive movement, successfully able to evoke emotion – loneliness and the fragility of relationships were clearly evident. The nature of the movements allowed certain motifs to be easily identified, and subsequent use of these signature moves allows for the cross-pollination of the Stages in the audience’s mind.
All went well with this performance: it was moody, emotive, and turbulent… until a punter’s mobile phone rang. Rustle, rustle, rustle… ringing stops. Then starts again, rustle rustle.
Thereafter, the mood was vanquished.
Which was a real shame. I had been really enjoying myself (hey, I can joyfully wallow in grief – I’m a depressive bugger), but that innocent little ringtone of a fucking disrespectful, dickheaded so-called audience member (emphasis on the “member”, there) shot it down for me. I can only hope that it wasn’t one of the teachers present that transgressed.
Ah yes – “teachers”. Since this was a matinee, there were a few school groups in, and Mary Walker led a Q&A session with the rest of the cast at the end of the show. She highlighted the individual contributions of the actors, and provided a very straightforward breakdown of the performance; but that raised more questions in my mind than were answered. What meaning was injected, what intent was interpreted after the fact; and what was inserted into the writing? I like these questions popping into my mind because this type of creativity is utterly alien to me.
I also find it pretty cool that, when I peeked on Elisabeth Kübler-Ross‘s Wikipedia page, there’s a very simple quote (which I’ve taken horribly out of context): “half working, half dancing – that is the right mixture.” And that’s kinda what’s been delivered here – half-dance, half-theatre. Half the performance is handed to you, and half is in your head.
And I like that.