Tuesday, October 28, 2008
DIARY 78 - Taking your eye off the gravy
Sunday, October 26, 2008
FEATURE 14 - Complicite
THEATRE REVIEW - A Disappearing Number

It's been quite a few years since I've seen a theatre work created by Theatre de Complicite, the company name now thankfully shortened to Complicite. The last time was The Street of Crocodiles revival at the Queens Theate in 1999, a production based on the life and stories of Bruno Shultz. Over the decades I believe I've seen five productions by them. I've taken many a friend to see them, confident they'll never let me down, producing each time entertaining, fascinating, experimental theatre of great beauty. This production centres on the work and creative relationship between a Cambridge Mathematics Don - G.H. Hardy, and an Indian Clark - Shrinivasa Ramanujan in the early decades of the Twentieth Century. Hardy was the first Westerner to recognise Ramanujan as the unconventional genius of pure mathematics that he was. Interwoven into this is the contemporary love affair between a university lecturer in Mathematics, and Hardy/Ramanujan enthusiast and an Indian American futures salesman. A play about pioneering theoretical mathematics doesn't sound exactly like compulsive theatre, but Complicite bring their usual visual relish to it, finding visual ways to demonstrate Ramanujan's ideas, and make them imaginatively comprehensible.

Complicite productions frequently break new theatrical ground, with A Disappearing Number they explore what digital technology can bring to the theatrical experience. There are so many creative layers to this production, so many ways it engages us, not just intellectually, but also with the eye and the ear. They never become so self conscious of its art that their productions become cold, alienated and emotionally barren places. They seem to embrace the impossibility of their mission with an almost evangelical passion. Attempting to capture by clever cross cutting of time and sequence, via the simultaneous overlaying of different periods of experience, the brilliant essence of Ramanujan's ideas. Sometimes, as you see a scene acted out down stage, up stage you're also seeing the same scene played out in the background in a time delay, like a fuzzy memory. Through this inventive interplay, it becomes so much more than the telling of the tale of Hardy & Ramanujan's lives, It spins outward on the axis of its own universe to become a meditation on the possibilities of mathematics as art. The intrinsic beauty of its patterning and philosophy. Gives us a felt sense of what a numerical relationship can tell us about infinity, reality, human existence and our search for meaning through our virtual conceptual worlds and real relationships, all before death overcomes us.

Seeing the one performance only scratches the surface of what this hugely ambitious production has to offer. It so vividly captures how the world of pure mathematics, like that of pure physics, inevitable trespasses onto existential territory, to bridge the gap between the temporal sciences and those ineffable aspects of reality that we carelessly group under 'spiritual.' The closing lines of the play spoken by the character Aninda Rao to the recently bereaved Al Cooper, explain that Ramanujan's ideas about infinity mean that if time is continuous, and space is continuous then your never truly separated from anyone, or anything. All the main characters of the play are scattered across the stage, as though across human history,and are seen to be slowly tipping ash from the books they hold in their hands. This was such a melancholic image for a shared sense of impermanence, its beauty profoundly moved me. Brilliantly realised theatre, that rare mix of the heart and mind entranced, comes no better than this production.
Saturday, October 04, 2008
DIARY 77 - The Search for a Wish Fulfilling Jewel
FEATURE No 13 - Elbow
In my teens and twenties I kept my finger keenly on the popular music pulse. Avidly pursuing and following up lines of enquiry, listening out all the time for new bands and directions that seemed worth chasing up. Sometimes I was in pursuit of what turned out to be a passing novelty, or a band that issued one great album then disappeared into obscurity i.e. Deaf School or Young Marble Giants. Some bands were so eccentric they'd never be hugely popular i.e. James Chance & the Contortions, or The Native Hipsters. The amount of money I've thrown away on duff albums over the years, in the pursuit of that rare, but beautiful gem, doesn't bare thinking about. But I've been immensely more enriched by this than having the money languishing in my bank account. I can't afford to be so profligate with my money these days, and anyway I am a good deal choosier. The majority of contemporary rock is either plastic, pastiche or a parody of talent - but then, whenever has it not been so? Even the truly vacuous has its own appeal, and consequently its own market. I can slum it, and boogie down with the rest of them. For me music has never been solely a form of escapism, its also been something that energised, enhanced and engaged me with life in a joyful way.
Most 'noughties' guitar bands have a knowing plagiarism, they add nothing new to the lexicon, and merely revamp other peoples past glories - usually U2's. With the advent of You Tube, you can save yourself so much money by hearing and seeing the band first. You can decide for yourself whether you like what they do, and whether they are worth buying or not. I researched the Ting Tings, Hot Chip and Vampire Weekend this way..... and now Elbow. I have to acknowledge that I knew very little about Elbow, until I saw them recently on Jonathan Ross. Then of course they went on to win the Mercury Prize 2008. Already on their fourth album 'The Seldom Seen Kid' I obviously had a bit of catching up to do. Their appeal lies in their melding of beautifully crafted melodies, delivered by the supremely gifted vocals of Guy Garvey, with a willingness to boldly experiment with musical textures. The rest of the band provide a really solid level of musicianship, which is at times quite awesome in the breadth of its accomplishments. The real clincher for me has been the videos, for which I believe they've usually engage a group called The Soup Collective. The example posted here, to the song 'Switching Off' is simply knock out, and so cool. Constructed around the largely unadorned idea of a lighthouse flashing, yet it adds to and embellishes the Elbow song immensely. Its visual strength is in the image being allowed to develop its own depth of connection, with some subtle adjustments and evolving changes, but mostly by just letting it be.
I'm going down to Fopp this weekend to see if I can pick up their back catalogue cheap. If I have any reservations about Elbow its that their predominantly mournful tone might not bear excessive repetition. Even I - Melancholy Man - can have too much of wallowing in despondency - especially if belongs to someone else.
Most 'noughties' guitar bands have a knowing plagiarism, they add nothing new to the lexicon, and merely revamp other peoples past glories - usually U2's. With the advent of You Tube, you can save yourself so much money by hearing and seeing the band first. You can decide for yourself whether you like what they do, and whether they are worth buying or not. I researched the Ting Tings, Hot Chip and Vampire Weekend this way..... and now Elbow. I have to acknowledge that I knew very little about Elbow, until I saw them recently on Jonathan Ross. Then of course they went on to win the Mercury Prize 2008. Already on their fourth album 'The Seldom Seen Kid' I obviously had a bit of catching up to do. Their appeal lies in their melding of beautifully crafted melodies, delivered by the supremely gifted vocals of Guy Garvey, with a willingness to boldly experiment with musical textures. The rest of the band provide a really solid level of musicianship, which is at times quite awesome in the breadth of its accomplishments. The real clincher for me has been the videos, for which I believe they've usually engage a group called The Soup Collective. The example posted here, to the song 'Switching Off' is simply knock out, and so cool. Constructed around the largely unadorned idea of a lighthouse flashing, yet it adds to and embellishes the Elbow song immensely. Its visual strength is in the image being allowed to develop its own depth of connection, with some subtle adjustments and evolving changes, but mostly by just letting it be.
I'm going down to Fopp this weekend to see if I can pick up their back catalogue cheap. If I have any reservations about Elbow its that their predominantly mournful tone might not bear excessive repetition. Even I - Melancholy Man - can have too much of wallowing in despondency - especially if belongs to someone else.
Thursday, October 02, 2008
FEATURE No 11 - Rick & Steve - Happy & Gay like you wouldn't believe
At first, David and I just couldn't believe anyone would want to be so tacky, but give it time guys 'n 'gals. Using Lego dolls and a style borrowed from children's animation as start, it drags these through the gutter into an altogether 'adult' direction. Stereotypes are simultaneously indulged in and then punctured. Sometimes dangerously mixing positive representation and scenarios guaranteed to offend every ones sensibilities - gay or straight - it takes some pretty big risks in its efforts to parody and amuse.
These are some of the best clips available just to give you a little taster. The best line comes in the second part of this episode - you can't miss it - its a sort of rallying cry for all lesbian kind! 'Rick and Steve - the happiest gay couple in all the world' is being broadcast on Channel 4 on Wednesday nights 10.30pm, if you are allowed to stay up and boogie that late. This is going to go down very big in the glamour boot camp and make Lego trendy.
These are some of the best clips available just to give you a little taster. The best line comes in the second part of this episode - you can't miss it - its a sort of rallying cry for all lesbian kind! 'Rick and Steve - the happiest gay couple in all the world' is being broadcast on Channel 4 on Wednesday nights 10.30pm, if you are allowed to stay up and boogie that late. This is going to go down very big in the glamour boot camp and make Lego trendy.
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