Merry Christmas Mr Cool
The 'ten best' articles that are ubiquitous these days will invariably tell you that Melbourne is one of cities with the highest quality of life in the world. Generally I can't stand all that '10 things to do before you die horribly in a bungee accident' rubbish but as i sit here in my 21st floor appartment on Southside, recovering from a couple of weeks hard work and hard play, i can confirm it's all true.
I can't help feeling extremely privileged working on 'Of all the people in all the world'. We have travelled to some fantastic places in the last year and been able to contribute creatively and meaningfully to the discussion of local and global issues wherever we've been. From such a minimal concept the show packs a mighty punch, capable only of being comprehended when you actually experience it live. There are so many good things about the show i can't even be bothered to begin talking about them at the moment but i think one of the most positive aspects is that we as performers/functionaries/cleaners/curators/call us anything you like - constantly inhabit the space. This makes for a discourse with the audience that is pretty much unique. Risky children who are left to their own devices by ignorant or exhausted parents become hypnotised by the work if you will just spend 5 minutes with them. As Graeme pointed out in Norwich, adults who are finding the experience heavily emotional have a chance to voice their incredulity/anger/malaise directly to the people who are responsible for it. It all makes for quite an exhausting days work i can tell you.
Given that, i've been cutting loose a bit more than normal in an attempt to let go of all the days baggage (some performance cliches still ring true). 4 days into the festival and i've managed to dance into the small hours every one and see 3 shows - reactions to which among the company have been pleasingly mixed, with the exception of Tim Robbins' 1984 which was pants.
The other 2 shows, both in the SBC style Hamer Hall both promised a lot but delivered very differently.
Camille is an irish singer who takes the songs of Cave, Waits and Brel and murders them by using them as a vehicle for her own ego. (I'm sure she's lovely and i feel bad for saying that because she obviously works so hard and has good taste).
Insen is a collaboration between Alva Noto and japanese pianist and composer Ryuichi Sakamoto. Superb synergy between the sonic and visual with clarity and emotion (Produced by a crew largely from back home which includes an old friend, Simon MacColl). I met Ryuichi in the performers bar last night. SO softly spoken and oozing cool, i did my best not to get all isleowight gushy.
Word has to go to the man responsible for getting us all here ultimately. James Yarker, artistic director of Stans Cafe, back home looking after office and family. Cheers boss.