A couple of interesting (and very different) elisions between music and theatre, plus a solo gig…
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Currently engaged in providing live cello for Jocelyn Pook‘s score to the current Globe Theatre production of ‘Macbeth’, audaciously accomplished cellist and singer-songwriter Laura Moody (see passim) is also doubling down at Waterloo to perform in BAZ Productions‘ performance piece ‘dreamplay’.
BAZ Productions present:
The Vaults Theatre @ The Vaults, Arch 236 Leake Street, London SE1 7NN, England (use the Launcelot Street entrance off Lower Marsh)
Saturday 10th September 2016 to Saturday 1st October 2016 (Tuesday to Saturday 7.30pm; Saturday matinees 3pm; BSL Performance on Saturday 24th September) – information here
A reworking of and response to August Strindberg’s classic proto-expressionist work of the same name (and scripted by BAZ director Sarah Bedi and the performers), the piece features “a mysterious woman (who) arrives on Earth, intent on uncovering the truth about human suffering. Her dream-like quest leads her through shifting landscapes and into contact with a host of disturbing characters as she searches for the ever elusive Door, behind which she is certain the answer lies … Can she discover the unconscious truth and return home?” (Sadly, ‘dreamplay’ is already halfway through its run – if I’d known about it earlier myself I’d have posted about it sooner…)
Direct from Laura: “I appear as a variety of characters, as part of a wonderful cast of five, performing all the music I’ve created for the show live. I also give my acting debut! I’m really delighted that just a few days into opening my music/soundscape for ‘dreamplay’ has been nominated for an Off West End Theatre Award for best sound design.
“Played out in the tunnels underneath Waterloo Station, ‘dreamplay’ is an immersive, challenging piece that casts you, the audience, as the dreamer and leads you through a labyrinth of scenes, images and situations prompting fundamental questions about humanity. I, for example, finished opening night contemplating how exactly I had managed to acquire quite so many inexplicable bruises on my limbs and HP sauce on my bow. Such are the mysteries that await you, and many more…”
Once ‘dreamplay’ is finished, Laura will be performing one of her intermittent London solo gigs – an hour-long song set with no support act – at City University..
City University presents:
Music Department @ City University, Northampton Square, Finsbury, London, EC1V 0HB, England
Tuesday 11th October 2016, 7.00pm -free event requiring ticket reservations – information here
To whet the appetite for this, here are a couple of videos shot back in June at the Dartington Estate during Laura’s gig there, in which she duets with Adem on a version of her song We Are Waiting (and on Adem’s own Love And Other Planets).
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Earlier in the year, Keir Cooper (who’s previously graced this blog as guitarist and composer for noisy experimental jazz-rockers A Sweet Niche) teamed up with fellow theatremaker and physical performer Rose Biggin to create the performance piece ‘Badass Grammar’, in which Keir’s blistering guitar is paired with Rose’s dynamic pole dancing in an hour-long dialogue of ideas.
Rose and Keir describe ‘Badass Grammar’ as “sexy, smart, witty as houses and obviously featur(ing) big bold dance and electric guitar duets.” A longer description suggests “a theatrical collaboration between a pole dancer and a guitarist, a composition in exploded view. With a mischievous agenda, the performance invites in the mucky subjects of shame, power and privilege. And takes them dancing. Peering down at the nuts and bolts, the muscle and bone. The pole dislocated, the guitar unfretted. Sparkling, witty, savage, fabulous: we draw on the invisible histories of our disciplines and are building a new one. Starting now. Come with us.”
Following its initial performances at The Yard, ‘Badass Grammar’ is being revived for Camden People’s Theatre as part of the annual Calm Down Dear festival of feminist performance.
Calm Down Dear #4 presents:
‘Badass Grammar: A Pole/Guitar Composition in Exploded View’
Camden People’s Theatre, 58-60 Hampstead Road, Euston, London, NW1 2PY, England
Wednesday 5th & Thursday 6th October 2016, 9.00pm – information (presented in a double bill with ‘40 Days Of Rain‘ on the 5th)
Below, there’s a brief and tintinnabulating minute-and-a-half-long excerpt from Keir’s score – spilling, mercurially elusive guitar-noise shapes passing through hard rock distortion and riffing, and refracted as if glancing off the chromed mirrors of the pole podium. Some of the music from this and other theatre work should eventually surface on his proposed ‘Bodies‘ album, which will incorporate Keir’s guitar-and-effects-pedal contributions to collaborations with assorted artists across a variety of live dance and performance disciplines (including “strip punk” and flamenco).
In an expositionary piece written for Bellyflop Magazine back in May (and which you can read in full here) Rose and Kier present and explore some of the implications of their show; not ducking around the “massive inflatable grey elephant that comes tied to every pole” in the form’s inescapable ties to sex work, but raising other questions in response, including “are women to be judged harder if you don’t like their job?… What if I’m actually one of many feminists on the pole? Does that mean I can be listened to yet? Or still spoken for?”
As they state, “we’re making a show. It’s pole dance, which is sometimes sexy, and came from strip clubs. It’s also live electric guitar, which is often a lot of willy-waggling. It’s a show about shame, power and privilege. Let’s see what happens.
“Pole is a very visible arena for tensions around women’s bodies, women’s work, shame, power and privilege. Far from a casual choice – it is impossible not to be political when near this object… When we discuss our performance with folks, somebody will ask if Keir is pole dancing and Rose is playing the guitar. Sometimes this is asked as a joke – when it’s a joke, it’s always asked by a man. But sometimes it’s a genuine artistic question, and as such it’s a valid one.
“The short answer is no, because artistically, we’ve decided it would be pretty boring to watch people doing something they’re terrible at. (For an hour.) But the longer answer is no, because we think it is more interesting to utilise the forms from where we are and examine how it came to be that we got here. And what we will do now…”
I’ll just pinch from one more source to add a bit of extra colour. Here’s Rose’s irreverent, practical list from her ‘Badass Grammar’ article in ‘Standard Issue’ magazine, detailing what she’s learnt from the form…
…and not forgetting…