Dr . Koppelius
Sat, 10 Mar 2001, 11:07 amWalter Plinge9 posts in thread
Dr . Koppelius
Sat, 10 Mar 2001, 11:07 amMalcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esoteric to follow, especially as the dialogue was already so 'idea-heavy'. The fact that the glam-rock era was so dependent on questions surrounding reality vs. fantasy, this genre (which by today's standards would be considered classical music) works effectively in this context. The 'goths in leather' look which is such a favourite of Malcolm's as a device to drive the sexuality and eroticism of the work is in strong evidence again.
The stillness of characters was disciplined and focussed. I would personally have liked to have seen more movement throughout. I believe the subject matter could have sustained it.
All in all a fascinating piece of theatre, solid performances and clearly the most consistent of Malcolm's collaborations. He has etched a niche for himself and I hope that he will continue to pursue this particular stylistic line to even more challenging conclusions.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esoteric to follow, especially as the dialogue was already so 'idea-heavy'. The fact that the glam-rock era was so dependent on questions surrounding reality vs. fantasy, this genre (which by today's standards would be considered classical music) works effectively in this context. The 'goths in leather' look which is such a favourite of Malcolm's as a device to drive the sexuality and eroticism of the work is in strong evidence again.
The stillness of characters was disciplined and focussed. I would personally have liked to have seen more movement throughout. I believe the subject matter could have sustained it.
All in all a fascinating piece of theatre, solid performances and clearly the most consistent of Malcolm's collaborations. He has etched a niche for himself and I hope that he will continue to pursue this particular stylistic line to even more challenging conclusions.
Walter PlingeSat, 10 Mar 2001, 11:07 am
Malcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esoteric to follow, especially as the dialogue was already so 'idea-heavy'. The fact that the glam-rock era was so dependent on questions surrounding reality vs. fantasy, this genre (which by today's standards would be considered classical music) works effectively in this context. The 'goths in leather' look which is such a favourite of Malcolm's as a device to drive the sexuality and eroticism of the work is in strong evidence again.
The stillness of characters was disciplined and focussed. I would personally have liked to have seen more movement throughout. I believe the subject matter could have sustained it.
All in all a fascinating piece of theatre, solid performances and clearly the most consistent of Malcolm's collaborations. He has etched a niche for himself and I hope that he will continue to pursue this particular stylistic line to even more challenging conclusions.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esoteric to follow, especially as the dialogue was already so 'idea-heavy'. The fact that the glam-rock era was so dependent on questions surrounding reality vs. fantasy, this genre (which by today's standards would be considered classical music) works effectively in this context. The 'goths in leather' look which is such a favourite of Malcolm's as a device to drive the sexuality and eroticism of the work is in strong evidence again.
The stillness of characters was disciplined and focussed. I would personally have liked to have seen more movement throughout. I believe the subject matter could have sustained it.
All in all a fascinating piece of theatre, solid performances and clearly the most consistent of Malcolm's collaborations. He has etched a niche for himself and I hope that he will continue to pursue this particular stylistic line to even more challenging conclusions.
Walter PlingeSat, 10 Mar 2001, 04:27 pm
RE: Dr . Koppelius
Dr. Koppelius was an absolute work of genius! From the opening scene my jaw was detatched from it's regular position and I was in awe of the truth resonating perception of reality. The post-modern style of theatre dripped back into Brecht, distancing the audience from the characters. The storyline was the smallest element in the production, and was only used to illustrate the theme, rather than the theme illustrating the storyline as you have percieved, in my opinion.
I would disagree that it likened to Greek theatre, which was heavy on emotion and attempted to seem realistic. The folklorish themes which you seem to have hinted on are actually based on Coppelius, the ballet, and the folk tale of course.
I have never seen a work which I considered to contain such absolute genius, a brilliant production from start to finish. The music I felt was the perfect touch, the grasp of the audience fully pulled into the gothic horror surreality.
To say this was anything less than stunningly brilliant would be to let it down drastically.
Jamie Cant wrote:
-------------------------------
Malcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esote....
I would disagree that it likened to Greek theatre, which was heavy on emotion and attempted to seem realistic. The folklorish themes which you seem to have hinted on are actually based on Coppelius, the ballet, and the folk tale of course.
I have never seen a work which I considered to contain such absolute genius, a brilliant production from start to finish. The music I felt was the perfect touch, the grasp of the audience fully pulled into the gothic horror surreality.
To say this was anything less than stunningly brilliant would be to let it down drastically.
Jamie Cant wrote:
-------------------------------
Malcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esote....
Walter PlingeSat, 10 Mar 2001, 04:27 pm
RE: Dr . Koppelius
Dr. Koppelius was an absolute work of genius! From the opening scene my jaw was detatched from it's regular position and I was in awe of the truth resonating perception of reality. The post-modern style of theatre dripped back into Brecht, distancing the audience from the characters. The storyline was the smallest element in the production, and was only used to illustrate the theme, rather than the theme illustrating the storyline as you have percieved, in my opinion.
I would disagree that it likened to Greek theatre, which was heavy on emotion and attempted to seem realistic. The folklorish themes which you seem to have hinted on are actually based on Coppelius, the ballet, and the folk tale of course.
I have never seen a work which I considered to contain such absolute genius, a brilliant production from start to finish. The music I felt was the perfect touch, the grasp of the audience fully pulled into the gothic horror surreality.
To say this was anything less than stunningly brilliant would be to let it down drastically.
Jamie Cant wrote:
-------------------------------
Malcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esote....
I would disagree that it likened to Greek theatre, which was heavy on emotion and attempted to seem realistic. The folklorish themes which you seem to have hinted on are actually based on Coppelius, the ballet, and the folk tale of course.
I have never seen a work which I considered to contain such absolute genius, a brilliant production from start to finish. The music I felt was the perfect touch, the grasp of the audience fully pulled into the gothic horror surreality.
To say this was anything less than stunningly brilliant would be to let it down drastically.
Jamie Cant wrote:
-------------------------------
Malcolm Crisp's highly disciplined approach to his collaborative work continues to strengthen and consolidate with 'Dr. Koppelius'. The subject matter is complex and demands the audiences close attention - mutliple views of the concept of 'reality' are presented in rapid succession and Malcolm demands that we digest them as quickly as possible in order to appreciate the full value of the plot. The story had a 'folklorish' quality about it which complimented the complexity of the subtext. The characters are all metaphors for a particular point of view of the subject matter and this was handled consistently throughout. Names like Olympia alluded to more specific stylistic devices reminiscent of Greek tragedy, and Dr. Koppelius herself played out the role of the chorus, updating the audience on the potential consequences of the actions of other characters.
The music and lyrics provided by 'Zenomorph' provided a 70's rock opera vehicle for the tale. At times I found the lyrics too esote....
Grant MalcolmSat, 10 Mar 2001, 05:21 pm
RE: Dr . Koppelius
Drake Casaybian wrote:
-------------------------------
> Dr. Koppelius was an absolute work of genius! ... To say this
> was anything less than stunningly brilliant would be to let it
> down drastically.
and for a contrasting point of view (or is does Drake have his tongue firmly planted in his cheek?) from Robert - Mr Controversy - Cook at The West check out:
"The theoretical speechifying, for instance, was too overly serious, verbose and repetitive to really engage. "
"Ultimately, Dr Koppelius failed to be either an entertaining rock opera or a clever take on the ideas that shape our contemporary world - the different parts just aren't falling into a cohesive whole yet."
Cheers
Grant
-------------------------------
> Dr. Koppelius was an absolute work of genius! ... To say this
> was anything less than stunningly brilliant would be to let it
> down drastically.
and for a contrasting point of view (or is does Drake have his tongue firmly planted in his cheek?) from Robert - Mr Controversy - Cook at The West check out:
"The theoretical speechifying, for instance, was too overly serious, verbose and repetitive to really engage. "
"Ultimately, Dr Koppelius failed to be either an entertaining rock opera or a clever take on the ideas that shape our contemporary world - the different parts just aren't falling into a cohesive whole yet."
Cheers
Grant
Gordon the OptomSun, 11 Mar 2001, 03:21 pm
RE: Dr . Koppelius
Forget the West's review, it was a VERY ambitious musical. The music was superb, not too loud and a mix of Moody Blues (if you are that old) and Metallica - just excellent quality. The singing may have seemed weak from some of the cast, but they were supposed to be 'robotic'.
I think it is a shame that these accurate reviews only came out when the show had finished. Keep up the good work Malcolm and your team.
kind regards, Gordon
No one even mentioned the 'R and J' type poster
I think it is a shame that these accurate reviews only came out when the show had finished. Keep up the good work Malcolm and your team.
kind regards, Gordon
No one even mentioned the 'R and J' type poster
Walter PlingeSun, 11 Mar 2001, 03:47 pm
RE: Dr . Koppelius
At least Drake came to see the show to form his own opinion, rather than merely succumbing to the opinion of 'controversial' reviewers . . . which, by the way (in my perception of reality) was an excellent review which pointed out everything that the show intended to do.
Walter PlingeMon, 12 Mar 2001, 12:51 pm
RE: Dr . Koppelius
'Let's start with the idea that the review in the paper was a total illusion...'
The reality of the review vs. the reality of the play...
Believeing none of what you're reading and half of what you're seeing...
Get it?
The reality of the review vs. the reality of the play...
Believeing none of what you're reading and half of what you're seeing...
Get it?
Walter PlingeMon, 12 Mar 2001, 01:35 pm
RE: Dr . Koppelius
Thanks for the link Grant!
Robert Cook's Review of our Subiaco Theatre Centre season was a very intellegent, insightful and accurate opinion of the show my team spent eight weeks putting together.
It is quite rare to have such well argued citiques in the daily papers.
Very flatteringly he compared the work to both The Wall and Tommy (high praise indeed) He also investigated a percieved stylistic similarities to Buffy the Vampire Slayer in regards to the post-modern idea of self-referencing. We operate as a group to explore such cultural 'connections'.
The review ackhowledged the masssive challenge set in the work and confirmed that the work had not become tidy or comfortable. Once again very accurate criticism. It wasn't meant to be. My group tends to locate the expected choices and then move beyond them. We are set up to fail. Each choice enevitably goes beyond certain success and into something else.
As one of my favourite playwights proclaimed: "A man's reach must execeed his grasp, or what's a heaven for?"
Malcolm
Robert Cook's Review of our Subiaco Theatre Centre season was a very intellegent, insightful and accurate opinion of the show my team spent eight weeks putting together.
It is quite rare to have such well argued citiques in the daily papers.
Very flatteringly he compared the work to both The Wall and Tommy (high praise indeed) He also investigated a percieved stylistic similarities to Buffy the Vampire Slayer in regards to the post-modern idea of self-referencing. We operate as a group to explore such cultural 'connections'.
The review ackhowledged the masssive challenge set in the work and confirmed that the work had not become tidy or comfortable. Once again very accurate criticism. It wasn't meant to be. My group tends to locate the expected choices and then move beyond them. We are set up to fail. Each choice enevitably goes beyond certain success and into something else.
As one of my favourite playwights proclaimed: "A man's reach must execeed his grasp, or what's a heaven for?"
Malcolm