Tuesday, October 15, 2013

Miss

The audience is seated in traverse, on either order of the stage area. The performers are in the space sitting, waiting and a metronome is ticking loudly. The hoys go out, and we are plunged into total darkness. The velvet gentleness of the dark is shattered by the harsh sound of candy breaking. The lights come up to build a barefoot daughter walking on a narrow slither of a path of shimmering shards of glass. Theres cello, accordion, drum; theres Erik Satie played on the piano. And indeed there is voice! Polyphonic Corsican choral singing, woven by dint of and through with Bulgarian, Chechen, Romanian and Icelandic songs the live music and choral cream combining with the in cristalse physical performance to pretend for a in full- crinkleed and visceral work. There are ten performers onstage, 7 musicians and three physical actors/terpsichorers, one male and devil female. further there are no real divisions each is physical, and all is resonant voice. There is a stamping dance that kicks into cackles, then everything slips and cascade into another confrontation. There is musical saw, clapping, a dance analogous a mating ritual, an embrace that produces a reverse lightning of blood that splatters onto the floor, a knife plunged repeatedly into a wooden remand top.
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