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Expectation
Submitted by Colin Morley on Thursday, 11th Nov 2010
Once inside the theatre, I found an experience which heightened all of my senses, intrigued me, unsettled me and ultimately captured my full attention.
The main performance space in Arts House in North Melbourne is massive. It can be opened up, closed in or sectioned off with the use of curtains and theatre drops. Carlee used the entire space in this instance, beginning at the far end of the theatre and creating that distance (yet building that connection) with her audience. She then brought it in to us (or did she draw us to her?) and then let us out again (but took us with her).
Date of Show:
Tuesday, 9th November 2010 (All day)
Venue:
521 Queensberry Street North Melbourne The eye sees only what the mind is prepared to omprehend - Henri Bergson
What is your expectation when you're standing in the foyer of a North Melbourne theatre waiting to see a show called Expectation? That really is the question for today's reviewer. I found myself to be more and more curious as I waited, read my promotional flyer, studied the picture and interesting faces of my fellow theatregoers and watched Butch Cassidy and the Sundance Kid projected on a wall. I found that this actually expanded the limits of my expectations before I had even taken one step into the theatre.
Once inside the theatre, I found an experience which heightened all of my senses, intrigued me, unsettled me and ultimately captured my full attention.Expectation is the latest performance piece by Carlee Mellow in collaboration with Kelly Ryall. With a combination of stylised choreography, interpretative dance and exaggerated physicality, she explores the notion of both inward and outward perception. In her own words, she "is interested in finding ways to move the audience's perception beyond what the eye sees". I had the good fortune to talk to Carlee after the show about the construction of the piece and was told of the truly organic process to develop this highly skilled, charged and dynamic performance.
I found myself being connected to the performance in a way completely unlike any other piece of theatre I've seen. The audience was not just a witness to a performance, they were part of it. Carlee's performance draws you in, opens up your mind to infinite possibilities and stokes your imagination. It is all at once solid, grounded, ethereal, whimsical and erotic.
This notion of the interconnectedness of all relationships is further explored with the accompanying music being, on the main, composed from sounds captured during the actual performance. This was not limited only to sounds produced by the performer, but by the audience as well.
The main performance space in Arts House in North Melbourne is massive. It can be opened up, closed in or sectioned off with the use of curtains and theatre drops. Carlee used the entire space in this instance, beginning at the far end of the theatre and creating that distance (yet building that connection) with her audience. She then brought it in to us (or did she draw us to her?) and then let us out again (but took us with her).The entire piece was connected and I could spend pages breaking it down and elaborating my thoughts. I particularly enjoyed, however, Carlee's impressive use of her body as a true instrument, her non-linguistic and non-verbal communication with her audience and her radiant energy. If he had a favourite moment, it would be the whimsical yet intense Edith Piaf-esque non-lyrical singing into a microphone with her back to her audience and a single spotlight from above - visually stunning.
This is truly a one of kind piece of theatre and pushes the boundaries of your own perception. If you get the chance, make your way to Arts House before the close of this strictly limited season.
State:
VIC