| Performance flows after balky start |
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| Reviews |
| Sunday, 31 May 2009 00:00 |
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BY PAT DONNELLY THE GAZETTE, MAY 30, 2009
It was the opening night from hell.
One could not help but sympathize with the Electric Company of Vancouver as the Festival TransAmériques debut of their Studies in Motion at the D.B. Clarke Theatre was short-circuited by three factors. First, there was a printing error on the tickets that gave the wrong address, discovered at the last minute. In spite of FTA organizers' efforts to contact everyone, some people headed for the Loyola Campus first, arriving late at 1455 de Maisonneuve Blvd. W. Then there was the bomb scare at Berri-UQÀM station that paralyzed the métro and snarled traffic, giving FTA director Marie-Hélène Falcon an excuse to announce a delay (25 minutes), without having to mention the ticket misprint. Studies in Motion began, at last, with a dazzling display of deftly choreographed naked bodies illustrating, under strobe lights, the stop-motion photographic techniques of Eadweard Muybridge, the 19th century British pioneer of the motion picture industry. After a few minutes, however, a prolonged pause left the audience staring at a dappled screen.
Another announcement: The theatre's fire curtain had suddenly fallen and refused to budge. After a few minutes, there was a false start, then another pause before the situation was rectified. Given these events, the first act of Studies in Motion, directed by Kim Collier, didn't have a chance, its momentum irreparably undermined. The dance sequences, choreographed by Crystal Pite, juxtaposed with Muybridge's actual images on screens, were fascinating. But they failed to carry the staid, set-up portion of Kevin Kerr's script forward. It wasn't until the second act, post-intermission, that the blend of movement, visuals and text found its dramatic purpose and, finally, flowed. Andrew Wheeler's strong presence in the role of Muybridge was a galvanizing factor. Jonathon Young's largely gestural take on the wily Henry Larkyns, the man who stole the affections of Muybridge's wife and paid for it with his life, hit a catchy note. Like the rest of the cast (excluding Wheeler), however, Young had other characters to play - and choreography to carry. Versatility is their forte. (Which leaves us to hope they'll discover the level of vocal projection required to conquer the D.B. Clarke's acoustics.) The Muybridge depicted here is a complex, egotistical character, obsessed with science and photography, baffled by a young and foolish wife, Flora (Anastasia Phillips), who finds him stifling. The guilt of failed fatherhood haunts him from the moment he hands over the son he believes is not biologically his to a Catholic orphanage. Kerr has planted this scene at the beginning of the play, lacing flashbacks pertaining to the son (Julien Galipeau) throughout, ending on a note of partial reconciliation. Most of the action is anchored in Muybridge's Pennsylvania University lab, where nude models are treated like guinea pigs as he works on his "dictionary of animal locomotion" with the help of a doting assistant (Juno Ruddell). Was he a voyeur? Undoubtedly. A pervert? Not quite. To his credit, Wheeler suggests this tormented eccentric remained an enigma to all who knew him. Studies in Motion needs tighter editing. But this haunting mix of Victorian melodrama, modern dance and archival images, seen under unfortunate circumstances, remained intriguing. The Festival TransAmériques continues until June 6. Studies in Motion plays tonight at the D.B. Clarke Theatre, 1455 de Maisonneuve Blvd. W. Tickets: $32. Call 514-790-1245 or go to fta.qc.ca © Copyright (c) The Montreal Gazette |
