Amelia’s Magazine | Review: The Devil and Mister Punch by Improbable at the Barbican

The Devil and Mister Punch by Jane Mcguinness
The Devil and Mister Punch by Jane Mcguinness.

Following hot on the heels of some great puppetry at the London International Mime Festival, the Barbican is hosting the new show, The Devil and Mister Punch, from the renowned Improbable theatre company.

The Devil and Mister Punch
Founded in 1996 by four artistic directors, this production was put together by Julian Crouch and is based on an ongoing obsession with the tradition of Punch and Judy. Here he picks apart the darker aspects of this strangest of British traditions… I mean, think about it: a man who beats his daughter and his wife? A rampaging crocodile, here in the UK?!

Devil and Mister Punch croc
The Devil And Mr Punch_Bat and Mask by Gareth A Hopkins
The Devil And Mr Punch by Gareth A Hopkins.

An assortment of strange characters joins the more familiar cast, including dancing piglets, a typing dog, a singing bull and a scarily oversized Punch. The cliches of puppetry are picked apart with delightful knowing, the live folk music which accompanies the action is exquisite, the staging is incredibly clever and best of all it’s very funny!

The-Devil-and-Mr-Punch-by-Mat-Pringle
The Devil and Mister Punch by Mat Pringle.

The Devil and Mister Punch by Jason Lear
The Devil and Mister Punch by Jason Lear.

I can’t remember when I last saw a Punch and Judy show: just when it looks as though this strange tale may be in danger of dying out the Improbable performance is a timely reminder of the stories that have shaped our national psyche. Look out especially for the underwater scene and a body popping skeleton – some of the more surreal tangents ensure that not all of it makes sense, but The Devil and Mister Punch is a great way to spend an evening.

Devil and Mister Punch set

The Devil and Mister Punch plays in The Pit until the 25th February and is a must see for anyone interested in history, morality or social mores as well as contemporary set design and staging. More details can be found on the Barbican website.

The Devil And Mr Punch_Gallows by Gareth A Hopkins
The Devil And Mr Punch by Gareth A Hopkins.

Categories ,barbican, ,Gareth A Hopkins, ,Harvey and Hovey, ,Invisible Thread, ,Jane McGuinness, ,Jason Lear, ,JL Illustration, ,Julian Crouch, ,London International Mime Festival, ,Mat Pringle, ,Pigs, ,Plucked, ,Punch and Judy, ,Puppetry, ,Puppets, ,review, ,The Devil and Mister Punch, ,The Pit, ,theatre, ,Vaudeville

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Amelia’s Magazine | London International Mime Festival Review: Plucked… a true fairy tale by Invisible Thread

Invisible Thread by Janneke de Jong
Invisible Thread by Janneke de Jong.

The London International Mime Festival has quickly become one of my January highlights – c’mon, what else is there to get excited about during this miserable (taxing) month? – and my first performance of the season was a puppetry show at the London Roundhouse. The puppetry shows are always appealing because they invariably showcase some stunning leftfield creativity of the type that would never find its way onto a bigger theatre stage. And the Mime Festival picks out the cream of the crop so you are almost certainly assured of an interesting performance.

Invisible Thread review
Invisible Thread review
Plucked… a true fairy tale was created by new company Invisible Thread, directed by Liz Walker, who is a former director of the Faulty Optic theatre of animation. She brings her expertise in creating ‘cronky mechanical sets‘ and odd animated figures to her new project, which features a couple of bird people, a baby train, a little person with a hammer in its head and a wolf with a detachable penis that looks like a hallucinogenic mushroom.

Plucked invisible thread by katie chappell
Plucked, invisible thread by Katie Chappell.

The story (such as there is one) sprawls across two scenes, with near life size figures manipulated by Liz and cohorts. Despite the fact that the puppeteers are very much part of the stage you soon loose sight of them and concentrate on the oddball puppet characters instead, who take us on a meandering story that is explained by poetry and a beautiful lightbox paint brush animation.

Invisible Thread review
The allegorical story told by Plucked is by turns touching, amusing (puppet shagging is a first for me, as is puppet birth) and thought provoking. Suffice to say that our love affair with television has a lot to answer for! Keep an eye on Invisible Thread to follow their next projects. This show ends on Sunday 22nd January, but there are plenty of other shows to see at the Mime Festival.

Categories ,animation, ,Chalk Farm, ,Faulty Optic, ,Invisible Thread, ,Janneke de Jong, ,Katie Chappell, ,Liz Walker, ,London International Mime Festival, ,Plucked… a true fairy tale, ,Puppetry, ,review, ,Roundhouse

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Amelia’s Magazine | London International Mime Festival: Where Performance Art meets Circus and Narrative

mime-festival-ockhams-razor
Ockham’s Razor by Rosalie Hoskins

I’ll admit it. I’ve never been to much performance art or modern dance before. But let’s just say that my circumstances have somewhat changed of late and at the moment I am enjoying being introduced to new types of creativity.

So, website what’s with this Mime Festival stuff? Well, if you thought that mime was all men in black pretending to grope a wall be ready to have your definition of mime challenged. It seems that mime nowadays is more a combination of contemporary dance and circus. It’s about story telling from an abstracted and expressionistic perspective. In a play you’ve got the constraints of character and storyline – well this modern form of mime is much more like creating a painting over time and space.

I went to my first mime festival performance with a completely open mind, but entirely unsure of what to expect. It’s good to be challenged! Staged in the sadly blighted ICA (threats of closure have been bandied about in the press) this was a truly bizarre tale from Russian troupe BlackSkyWhite – USSR Was Here. In what was to prove a staple the pre-show explanatory notes made absolutely no sense at all, so I just about managed to glean the idea that the ‘storyline’ was based on the brutal history of Russia.

mime-festival-blackskywhite
Blackskywhite by Rosalie Hoskins

The murky blackness of the stage was pierced by the coloured forms of two strange characters who occasionally merged and then separated, interacting in dysfunctional ways. The music and lighting (lighting, I was to learn, is THE key element in mime. God knows how these performers would survive without coloured gels) evoked the kind of freakshow mania I imagine you might have encountered in fairgrounds of yore, the type that could slowly induce madness, in me at least. I really couldn’t figure out how many people were performing, but thought that I counted at least three. Not until the end of the show did I discover that there were actually only two performers, so able to radically change their demeanour as to convince me of their multitude. Double headed? Wherein I presumed the dummy head was the one hanging sideways? Why yes. I was fooled. Clever puppetry such as a curiously adult head on a baby left me wondering where the full person was hidden. With the aid of cunning wide legged pants the two performers were able to mutate, wibbling into shortened gnome figures. Features so altered by elastic bands and hairnets completed my confusion. Despite this discombobulation I have to confess that half way through I was starting to think “When will this nightmare end?” It was not without some relief that an hour later the swirling red and green lights finally came to a halt. Clever for sure, but for a performance artist novice like me watching Blackskywhite was at times more of an arduous task to finish than an enjoyable experience. I think I may have started in at the deep end.

Ockhams Razor-The-Mill-2
Ockhams Razor-The-Mill-3
Ockhams Razor-The-Mill-4

Next up on my Mime Festival week smorgasbord was a trip to the Linbury Studio Theatre at the Royal Opera House in Covent Garden (get me), where it appears that there is an even split between people who dress up to the nines for their every operatastic outing, and those who slump along in their civvies. A background in circus was immediately obvious as the wonderfully named Ockham’s Razor performers sat perched deathly still atop giant bobbins as the audience filed in and dry ice swirled around. The centrepiece of this imaginative set was a vast wheel suspended centre stage and this excellent video put together by the troupe describes how the set informed the subsequent narrative of the performance. The five nimble performers scrambled with undue ease (and superb upper body strength) up ladders and along ropes in elegant procession, all the while making sure the wheel was turned. Until it all went intentionally wrong and the rapidly unwinding spools caused a dramatic panic. Yes, the premise of the ‘story’ was slim – the wheel of work goes round and round – but it was a great deal of fun to watch (one of the blokes was well fit which is always nice) and I grinned through the whole show. Plus I felt very pleased with myself for taking sneaky iphone pics which I then put together with my favourite panorama stitch application. Love that thing.

Ockhams Razor-The-Mill-1

Last up was possibly the most interesting piece of mime – a piece called Rankefod performed by a single lady, of indeterminate age, but certainly not in the first flush of youth. (I’ve since discovered that she is in fact over 50. Quite staggering considering what she is able to achieve physically.)

mime-festival-kitt-johnson
Kitt Johnson by Rosalie Hoskins

Kitt Johnson is apparently an ex athlete and her command of her body was quite enthralling: an hour spent in her company at the ICA went a lot faster than the first time around. Starting alone in the centre of the spartan stage for many moments she made use of just a few jutting back muscles and flicks of her legs to evoke the early stages of evolution, as interpreted through her body. At first I thought she was wearing just a pair of hotpants, but I then deduced that her plaited hair was actually conjoined with some cave woman-esque shorts. Despite her naked breasts there was nothing remotely sexual about her presence, which through sometimes barely perceptible movements gradually became more animalistic. Described as a “loner” on her website, Kitt Johnson was something of a revelation. I might yet be a convert to this performance art marlarkey.

Categories ,Blackskywhite, ,Circus, ,ica, ,Kitt Johnson, ,London International Mime Festival, ,Mime, ,Ockham’s Razor, ,Performance Art, ,Rosalie Hoskins, ,Royal Opera House, ,theatre

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Amelia’s Magazine | Du Goudron et des Plumes: Barbican London International Mime Festival 2011 Review

Michelle Lowe-Holder S/S 2011 by Michelle Urvall Nyren
Canadian Michelle Lowe-Holder completed an MA in knitwear at Central Saint Martins and launched her eponymous collection in 2001. She has always included sustainable elements in her collections, view but having children made her think more deeply about her long-term impact. Being mentored by the Centre for Sustainable Fashion was hugely influential in persuading her to work in a fully ethical manner.

Michelle quickly realised that she had always been most interested in the details, so she decided to concentrate on designing accessories in heritage craft styles from all the offcuts that had accumulated in her studio over the years. She has collaborated with photographer Polly Penrose to showcase her new accessories collections through images of unusual beauty.
Michelle Lowe-Holder S/S 2011 by Michelle Urvall Nyren
Michelle Lowe-Holder S/S 2011 by Michelle Urvall Nyren.

Canadian Michelle Lowe-Holder completed an MA in knitwear at Central Saint Martins and launched her eponymous collection in 2001. She has always included sustainable elements in her collections, pills but having children made her think more deeply about her long-term impact. Being mentored by the Centre for Sustainable Fashion was hugely influential in persuading her to work in a fully ethical manner.

Michelle quickly realised that she had always been most interested in the details, site so she decided to concentrate on designing accessories in heritage craft styles from all the offcuts that had accumulated in her studio over the years. She has collaborated with photographer Polly Penrose to showcase her new accessories collections through images of unusual beauty.
Michelle Lowe-Holder S/S 2011 by Michelle Urvall Nyren
Michelle Lowe-Holder S/S 2011 by Michelle Urvall Nyren.

Canadian Michelle Lowe-Holder completed an MA in knitwear at Central Saint Martins and launched her eponymous collection in 2001. She has always included sustainable elements in her collections, click but having children made her think more deeply about her long-term impact. Being mentored by the Centre for Sustainable Fashion was hugely influential in persuading her to work in a fully ethical manner.

Michelle quickly realised that she had always been most interested in the details, web so she decided to concentrate on designing accessories in heritage craft styles from all the offcuts that had accumulated in her studio over the years. She has collaborated with photographer Polly Penrose to showcase her new accessories collections through images of unusual beauty…

Read the rest of this interview and see more illustrations of Michelle Lowe-Holder’s accessories in Amelia’s Compendium of Fashion Illustration, alongside interviews with 44 other ethical fashion designers and 30 fabulous fashion illustrators. You can buy the book here.
Du Goudron et des Plumes Illustration Gemma Smith
Du Goudron et des Plumes by Gemma Smith.

Du Goudron et des Plumes by Compagnie MPTA with Mathurin Bolze started with a swinging platform lowered slowly over the heads of the performers, more about crushing them into the floor. They emerged from beneath, ripping out the innards, transforming the planks into a clanking and clattering playground as the dancers/acrobats/I’m-not-really-sure-what-you-call-them swung adeptly, building and destroying, meeting and parting. Rotating vignettes from everyday life met with random acts of acrobatic grace, often finely tuned for comedic effect – the performers scaling planks to sit, gnome like, at the top, or hanging upside down to mirror each other.

Du Goudron et des Plumes by Ellie Sutton
Du Goudron et des Plumes by Ellie Sutton.

The platform rose, swaying, as paper sheets were unleashed to shadow the manic silhouettes of the characters behind until, in a flurry of motion, the paper was ripped apart. From minimalist jazz to crashing bells the soundtrack was finely tuned to the minutest motion, and as the platform tilted the occupants scrabbled to maintain control, clinging to each other, pushing and pulling. My later reading of the notes tells me this was a metaphor for our unstable future on this earth, and how we can either act together to survive or fail apart. The show ended with them mired in the middle as if aboard a desperate life raft.

Du Goudron et des Plumes Ellie Sutton
Du Goudron et des Plumes by Ellie Sutton.

I’d like to say that I drifted off rather frequently during this show because I’m really pre-occupied with the launch of my new book this Friday, but the fact is I probably would have done anyway… for me, that’s the trouble with theatrical shows that lack a strong narrative. At times the rhythm and flow of the five fluid acrobats had me gripped, but then I would find I’d gone somewhere else entirely as they swung repeatedly from side to side (shit, I don’t have enough drink for 300 guests), the motion acting as a hypnotist’s pendulum to send me off… and when I snapped to the scene had completely changed…a character was half naked smoking a pipe at the end of a plank, the lone girl was cascading through the air astride a rope swing, a man was swinging wildly from the oversized lamp. Director Mathurin Bolze calls this effect “mesmerising patterns.”

Du Goudron et des Plumes by Bertie Simpson
Du Goudron et des Plumes by Bertie Simpson.

This performance was typical of the way that traditional circus skills have been co-opted by mavericks such as Mathurin Bolze to create something much more abstract and intriguing. He certainly seems to be a popular man: the performers took multiple bows and a standing ovation flooded through the packed theatre as the lights came up on the opening night of Du Goudron et des Plumes.

Du Goudron et des Plumes plays at the Barbican as part of Bite until the 29th of January. You can read another interesting review by Ought to be Clowns here. The London International Mime Festival continues until 30th January 2011. My new book, Amelia’s Compendium of Fashion Illustration, is officially launched tomorrow.

Categories ,Acrobatics, ,Bertie Simpson, ,Bite, ,Circus, ,Compagnie MPTA, ,dance, ,Du Goudron et des Plumes, ,ecological, ,Ellie Sutton, ,Gemma Smith, ,London International Mime Festival, ,Mathurin Bolze, ,Mime Festival 2011, ,Ought to be Clowns, ,theatre

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Amelia’s Magazine | Flesh and Blood & Fish and Fowl: a review of the Mime Festival 2011 show at the Barbican

She and Him
She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, approved and Matt Ward, information pills wearing his sunglasses and nonchalance. They’re also very happy sounding, buy which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Domino Records) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, adiposity and Matt Ward, link wearing his sunglasses and nonchalance. They’re also very happy sounding, which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Domino Records) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, clinic and Matt Ward, no rx wearing his sunglasses and nonchalance. They’re also very happy sounding, page which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Merge US, Domino RecordsUK) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, stuff and Matt Ward, tadalafil wearing his sunglasses and nonchalance. They’re also very happy sounding, ask which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Merge US, Domino RecordsUK) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, approved and Matt Ward, more about wearing his sunglasses and nonchalance. They’re also very happy sounding, which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Merge US, Domino RecordsUK) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, medicine and Matt Ward, viagra wearing his sunglasses and nonchalance. They’re also very happy sounding, which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Merge US, Domino Records UK) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful.

She and Him

She and Him are cool eh? Zooey Deschanel in the vintage clothes I would love in my collection and marvelous fringe, page and Matt Ward, wearing his sunglasses and nonchalance. They’re also very happy sounding, which is great when strolling along a beach or beetling about in an open top car. But also when our beloved month of January is upon us, and we don’t reside in the Southern Hemisphere. Joyous music can be very important for SAD (seasonal affective disorder) fighting. Like Angel Delight, oh so sweet, it’s a joy to surround ourselves with sunny sounding high notes and chorus ‘badadadaaaas’. Ah swimming in a dessert bowl. Together these two create dreamy, poppy, nostalgic music that’s gentle, pleasant and cute as a button.

So, as a sunny treat, here we have the premiere of the new video for She & Him’s ‘Don’t Look Back’ (Merge US, Domino Records UK) directed by Jeremy Konner.

She & Him – Don’t Look Back from Merge Records on Vimeo.

Ward says on their website: “There are a lot of people who write music so that they can take their audience to a dark night of their own soul or to get something really heavy off their chest. I don’t think Zooey looks at music that way, and I think that’s a huge part of where her songwriting is coming from. Certain people write songs to make other people feel good. When I think about some of my favorite singers, like Sam Cooke or people of that generation, I think that they saw their gift as the ability to make people feel better, to feel happy. It’s contagious to be around people like that.” Delightful indeed.

Flesh and Blood by Stacie Swift
Flesh and Blood by Stacie Swift.

Flesh and Blood & Fish and Fowl was inspired by photographs of the Ukrainian town of Pripyat near Chernobyl, tadalafil taken many years after the city was abandoned to radiation. They show the buildings and streets overtaken with plants and animals, hospital which have happily returned to build homes amongst the human detritus.

Flesh and Blood office

The impressively depressing (yet realistic) stage set features the interior of an office for Convenience Foods: dead plants and old mugs litter the desks and the walls sprout crumpled charts and post it notes. It is into this nightmarish world that Jerry, played by Geoff Sobelle, emerges, rolling gracelessly out of a dumpster inside which he has presumably spent the night, and hobbling a few steps to his desk.

Office Deer by Sarah Matthews
Office Deer by Sarah Matthews.

The lengthy intro features a zany fight with a buzzing fly that refuses to die, before we’re introduced to his office colleague Rhoda, played with relish by Charlotte Ford. Despite their dysfunctional relationship she’s clearly interested in developing a more intimate arrangement with her middle management foe, artlessly arching her bottom in his direction as she microwaves her lunch repeatedly.

Office Squirrel by Sarah Matthews
Office Squirrel by Sarah Matthews.

The only time they communicate with words is in cringeworthy office jargon against the backdrop of a wonky Leadership poster featuring a lion’s head superimposed over a mountain. It’s all too easily recognisable as the kind of office that litters the business estates of the UK, which is interesting because Flesh and Blood & Fish and Fowl is performed by Americans.

Office-Bear-by-Sarah Matthews
Office Bear by Sarah Matthews.

Both Geoff Sobelle and Charlotte Ford are trained clowns, adept at using exaggerated body movement and facial expressions to convey repressed feelings that eventually rise to the surface as the theatre set is taken over by a series of stuffed animals and plastic undergrowth.

Mime Festival Rhoda by Sarah Alfarhan
Rhoda by Sarah Alfarhan.

Before long they are mating loudly in the dumpster, from which Jerry emerges disgusted that his animal instincts have at last taken over, immediately spraying his body with disinfectant. As the animals continue to stake their claim over the environment Jerry desperately clings to obsessive compulsive means of control, all of which eventually fail.

Flesh and Blood And Fish and Fowl by Mira Tazkia
Flesh and Blood & Fish and Fowl by Mira Tazkia.

The programme says very little about the meaning of Flesh and Blood & Fish and Fowl, preferring instead – in the great manner of mime – to leave the story to unfold through the telling. But it seems clear that this is a tale of human folly, and how, ultimately, our environment will have the last laugh of all. It’s a testament to the performers’ clowning expertise that what could so easily have come across as uncompromisingly depressing is instead one of the funniest shows I’ve ever seen.

Charlotte Ford & Geoff Sobelle

Flesh and Blood & Fish and Fowl is showing at The Pit in the Barbican as part of the London International Mime Festival for the rest of this week. Surreal, funny, disturbing and thought provoking, as I twittered on the night of the performance, this was a brilliant piece of mime: I urge you to grab a ticket now.

The Mime Festival is London’s longest running annual theatre event, encompassing visual theatre of all kinds. It runs from 15th-30th January and features a huge range of performances. Why not check out their calendar of events here?

Categories ,barbican, ,Berny M, ,Charlotte Ford, ,Chernobyl, ,Clowns, ,Convenience Foods, ,Flesh and Blood & Fish and Fowl, ,Geoff Sobelle, ,Jerry, ,London International Mime Festival, ,Mime Festival 2011, ,Mira Tazkia, ,Philadelphia, ,Pit Theatre, ,Pripyat, ,Rhoda, ,Sarah Alfarhan, ,Sarah Matthews, ,Stacie Swift, ,The Pit

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Amelia’s Magazine | Hilum by Les Antliaclastes: ICA London International Mime Festival Review

Austra gig at The Windmill by Laura Godfrey
It may have been a typically miserable Monday night in January, viagra sale but we were safe from the elements within the hallowed hall that is the Windmill in Brixton. This unassuming little pub just off the busy thoroughfare of Brixton Hill (and in the shadow of a real windmill, pills the only one remaining in London), has seen many upcoming bands and surprise appearances from old faces grace its stage over the years. My favourite music venue in London (and my second gig there in 48 hours), I’ve had a lot of nights at the Windmill that have been great (including my second New Year’s Eve in London), hazy (ditto) and just plain bizarre.

The evening began with some haunting acoustica from Daughter, aka Elena Tonra. Plucking at an acoustic guitar, and backed by some subtle electric guitar washes, Tonra’s hushed vocals delivered some daintily dark lyrics that drew the onlookers in.

As the Windmill began to fill up, Viv Albertine took to the stage with her new band, Limerence. Once the guitarist and co-songwriter with iconic punk band The Slits, Albertine had been off the music scene for over 20 years after pursuing a career in TV and film directing, but she recently made a return to the stage (indeed, her debut was here at the Windmill) and has gone on to release an EP on the label of Sonic Youth’s very own Thurston Moore.

“Limerence” was a term coined to describe a near-obsessive form of romantic love, though Albertine joked that her songs were generally about pretty much the opposite. Limerence the band is a loose collective of musicians – I’d seen them play at the George Tavern in Stepney last year with pretty much a full compliment, but tonight it was just a pairing of violin and a combo of keyboard, guitar and ukulele. Musically, Albertine has moved on from the reggae infused sound of her old band, though her guitar is still as distinctive as it was on songs like Typical Girls. If anything, there’s a hint of Syd Barrett about songs like Fairytale and the twisted pop of Never Come, and the lyrics are as witty and spiky as you’d expect. Void references a darker part of her punk past, and was introduced with a few reminiscences of 1976. The paired down line-up actually gave an extra edge to Albertine’s songs, highlighted on the unsettling set closer, Confessions Of A Milf, which descended into a one-chord riff on suburban paranoia.

Canadian headliners Austra have been causing a bit of a buzz of late. Hailing from Toronto, and centred on vocalist Katie Stelmanis, with Maya Postepski on programming and Dorian Wolf on bass, they recently renamed themselves (having previously been going under Stelmanis’ moniker), signed to Domino and currently have a 12” single out, with an album in the pipeline for later this year.

IMAGE AUSTRA
Illustration by Anko

For the UK leg of a whistle-stop European tour, starting tonight, Stelmanis and co were joined by a drummer, keyboard player and two extra vocalists. There was a bit of a shaky start with a technical hitch before things got into their stride. It would be easy to make comparisons with Fever Ray and Glasser (especially as I’d seen both live fairly recently), and Austra do fall into that category of brooding female vocals over dark electronic beats. However, they’re not as dense as Fever Ray or as spectral as Glasser, especially live. I’d read somewhere that Austra were like “Fever Ray gone disco”, which actually isn’t a million miles off the mark. The single, Beat & the Pulse, is distinctly dance-friendly, and while Stelmanis’ vocal delivery may be reminiscent of Karin Dreijer Andersson, the general vibe is more akin to the early to mid 80’s indie-dance crossover. In the confined space of the Windmill, Austra’s songs become much more organic, with the live drums and bass giving an added kick. There was also plenty of theatricality, with Stelmanis and her sidekicks whirling and dipping during each song.

It was a typically great and varied mix of bands and styles tonight, another in a long line of great nights that I’ve experienced at the Windmill, and another one I’m sure that the venue’s legendary Roof Dog would approve of.

ringo deathstarr album artwork

You never see Ringo Starr and Gary Lineker in the same room. Come on, information pills think about it! Anyway, ed I wasn’t quite sure what to expect from a band called Ringo Deathstarr. Some kind of black metal/merseybeat hybrid? I can categorically state otherwise, although I would be intrigued to hear what that sounded like. The album title gives more of an insight into their trippy, lysergic sound, but the key influences here are the late 80s/early 90s Creation bands like My Bloody Valentine and the Jesus and Mary Chain, with their squalling feedback and dreamy soundscapes.

Ringo Deathstarr by Avril Kelly
Illustration by Avril Kelly

Now, terms such as Shoegaze and Cathedrals of Sound do not exactly fill me with glee, but luckily Ringo Deathstarr give us a fresh and playful take on this kind of stuff. The brilliant opener Imagine Hearts starts with distorted 8-bit drum sounds before coming on like The Breeders’ Cannonball, with it’s dizzy, swirling guitars and bass player Alex Gehring’s dreamy, Kim Deal-like voice.

Ringo Deathstarr by James Boast
Illustration by James Boast

Throughout the album Gehring’s pretty, girly vocals duel with guitarist Elliot Frazier’s deeper, Ian Curtis-like croon, which provides a great counterpoint. On penultimate track Never Drive the band sound like a souped-up Joy Division.

It’s clear that these three Texans (the line-up is completed by drummer Daniel Coborn) love their vintage British indie. They’ve toured with fey 80’s jangle-merchants The Wedding Present. The breakdown in Two Girls sounds exactly like the intro to The Smiths’ Stop Me if You Think You’ve Heard This One Before. And in the song Do it Every Time, Frazier sings a lyric that may or may not say “We’re falling apart again, you took my cardigan”.

Ringo Deathstarr by Matilde Sazio
Illustration by Matilde Sazio

But rather than coming across as foppish miserablists, Ringo Deathstarr’s music is often powerful and joyous, and they’re at their best when playing the colour-saturated, nostalgic pop of stand out tracks So High and Kaleidoscope, which are the aural equivalent of a faded Polaroid taken on a sunny day in a park. In the 80s.

Ringo Deathstarr by Rukmunal Hakim
Illustration by Rukmunal Hakim

The fact that much of the lyrics are unintelligible, buried as they are under feedback and reverb, adds to the whole dreamlike quality of the record. When you do catch a phrase or word here and there, it feels like a stolen snippet of a faded memory. So, a host of 80’s indie references, dreamy girl/boy vocals and sun-faded guitar hooks – what’s not to like? Gary would approve. I mean Ringo…

Colour Trip is released on 14th February 2011 on Club AC30.

Les Antliaclastes by Stephanie Thieullent
Les Antliaclastes by Stephanie Thieullent.

Hilum opens with the ominous popping of corn, this web stealthily reaching a crescendo before the pan jerks off stage to reveal an oversized scullery into which emerges a gremlin fairy creature. It’s like a creepy abandoned nursery of the netherworld, prostate with recognisable objects and sounds mutated into the stuff of children’s nightmares. Almost immediately I fear for the dreams of the young children seated in front of us.

An array of wonderful grotesque puppets tumble and play, viagra order their strings pulled by the humans that tower above them in creamy lace outfits that resemble nightgowns. Their faces are covered, crocheted protrusions dangling trunk-like as they bend forward over their proteges, interacting with and manipulating them at the same time.

Les Antliaclastes by Gareth A Hopkins
Les Antliaclastes by Gareth A Hopkins.

But in this strange world full of curiously humanoid critters it is not the giant ogres that control the tale – such as there is one – but the rhythm of the washing machine cycles, underpinned by an evocative soundtrack. From crackling bleeps, to old time lullabies and the delicate tinkling of a glockenspiel (as a pathetic little mermaid creature made from pearly buttons meets its death) the music is an integral part of the atmosphere.

Hilum by Gemma Smith
Hilum by Gemma Smith.

Hilum by Abigail Daker
Hilum by Abigail Daker.

Towards the denouement things take a more surreal turn still, with the washing machine upending itself in a frenzy to reveal a furry trapdoor which gives birth to a baby washing machine covered in a placenta like ooze. A real man appears with a loud toy gun, a large humanoid skull spins grinning inside the washing machine. A huge chicken creature strides on stage as a snapping oversized finger clatters crazily agains the walls.

Les Antliaclastes by Gareth A Hopkins
Les Antliaclastes by Gareth A Hopkins.

As the shutters close on this bizarre otherworld I feel oddly bemused. Hilum by Les Antliaclastes is a beautifully conceived project but with no real outcome, other than the guarantee of some very odd dreams, for adults and children alike.

Nevertheless, as we admire the stage shutters on our way out I feel very glad that creative endeavours such as Hilum are staged during events like the London International Mime Festival. We are lucky indeed to live in this place and in these times, where creativity can be expressed in so many different and unique ways.

Hilum shutters ICA
Hilum shutters ICA
Hilum shutters ICA
The wonderfully decorated stage shutters for Hilum at the ICA.

Hilum was put together by puppeteer Patrick Sims and runs until Wednesday 26th January 2011 at the ICA as part of the London International Mime Festival. You can read another good review of this show by Matt Trueman on Carousel of Fantasies. The Mime Festival continues until 30th January 2011 – find out about other events here.

Categories ,Abigail Daker, ,Carousel of Fantasies, ,Gareth A Hopkins, ,Gemma Smith, ,Gremlins, ,Hilum, ,ica, ,Les Antliaclastes, ,London International Mime Festival, ,Matt Trueman, ,Mime Festival 2011, ,Patrick Sims, ,Puppets, ,Stéphanie Thieullent

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