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The York Crucifixion

Sun, 9 Mar 2008, 11:27 am
Gordon the Optom15 posts in thread
‘The York Crucifixion’ by Anonymous, is a Happy Dagger Theatre presentation, supported by The City of Perth. It is showing at The Rechabites’ Hall, Northbridge until 23rd March. Shows at 7.30, late shows Friday and Saturday at 9.30 pm.

            A wagon with three Bouffons aboard is dragged onto the stage by another jester (Kingsley Judd). Bouffons were the Mediaeval version of Bovver boys. Despite being strangely dressed themselves (Cherie Hewson), the characters continue to mock the status quo.
            The thugs demount and decide who they are going to pick on for their next beating. A new person in the town, Jesus (Renee McIntosh), is the obvious choice.
            In a similar manner to today’s thugs, there is a fair amount of grunting and friendly fighting (Andy Fraser) amongst themselves. Under the leadership of a Bouffon dressed like a locust (Damon Lockwood) they set out to find this religious leader. They crucify her, but Jesus arises from the dead and berates the attackers.

This interpretation of the 14th Century play, is directed by Andrew Hale and has three well- respected ‘serious’ actors (Benj D’Addario, Igor Sas and Renee McIntosh) who are performing well outside their normal comfort zones. Still they blended skilfully in this off-the-planet play. One can only wonder if the real Crucifixion was carried out in a similar manner, by a bunch of yobs who were acting as reserve soldiers.
Living for some time in Glasgow, every area of the city was controlled by mindless, illogical gangs just like these Bouffons. The play was confronting, not from a moral sense, but in making the audience feel deliberately uncomfortable.
Do not expect this to be a sequel to last year’s light-hearted success, ‘The Messiah’.

The imaginative lighting by Lucy Birkinshaw created a powerful atmosphere. The design consultant, Bryan Woltjen, has left the stage completely blank but instead has created the most wonderful wagon Transformer. Like a Meccano set, it is pulled to pieces and reassembled at several times through out the play to create ingenious central props.

This play is very well thought out, but is deliberately designed to make the audience think. It has snippets from well-known musicals and films to add to the fun. Some bits worked others struggled a little, but the ideas were worth trying. The cast worked very hard. The highlight? A madrigal delightfully performed. I am sure that the director will see what works and will rework odds and ends in this very unusual, innovative play.

Panels and funding

Fri, 28 Mar 2008, 11:37 am
I know I'm as usual coming in late, but as someone who spent 7 years on arts funding panels I feel I need to speak up. The process is intense, and detailed, and very honest. It is also incredibly competitive. The panel bring great intelligence and integrity to the process, and make what turn out to be incredibly difficult decisions. There is usually only $1 or so for every $3 requested (or even less), and every panelist often cannot fund at least one or two of their favourite projects due to the panel-based process. On the subject of the amount- well ArtsWA funds professional companies/productions to the amount it takes to actually do this- i.e. The people in this project probably got paid. Personally I think money much better spent than the financial bottomless black hole of community theatre. To fund this sector properly would cost the entire ArtsWA grants budget, and would probably still fail. (This is not a criticism or attack on community theatre) At the end of the day, this funding exists for professional artists and companies, and should stay this way. Delineating community/hobby artists from professional artists is important for those of us for whom this is a job. Furthermore, $28000 is not unusual for a theatre or dance production- they're simply more expensive. Thus the need for govt grants/subsidies. On the subject matter- I am unfortunately (or luckily for my business) so incredibly busy that I didn't get to the show. However, I was astounded at the West's (otherwise known as the Worst Australian) attack, and yet unsuprised. One of the reasons christians should celebrate this play at easter is that it is a religion that for the most part will not go crazy over something that challenges their faith. In other words, we should celebrate that this play happened and noone rioted etc., rather than using muslims etc. as a punching bag for why we shouldn't allow 'this sort of art'... I for one say more 'blaspheme' is needed. Society that doesn't question its beliefs and structures is headed for disaster. Furthermore, this increased capacity to question and reason is surely a measure of our 'civility', and improvement as a species. Also kudos to the director for pointing out that he wouldn't do this to muslim or other culture as it is not 'his' culture to question. He is challenging his world, not someone else's... Finally, if you are not willing to sit in the room and watch the play, how in anyone's name can you say it is one way or the other. People getting upset over probably the one paragraph on the front page (I doubt they read further) are so uninformed as to the project, the funding process, and pretty much everything else as to be as bad as those idiots who started firebombing embassies and rioting over a cartoon. Ignorance is unfortunately still king. Neville It's the simple things stupid...

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