Reach for The Rapture in the art of humanity.

Moira Finucane entrances and enlightens all your senses in her provocative performance at the Fortyfivedownstairs wonderland. Visual artists from Arts Project Australia and striking sculptures from William Eicholtz and Catherine Lane; transcends you into Finucane’s international storytelling reality. She seduces from the beaches of Chile and the hall of mirrors in the Palace of Versailles. Imploring you to contribute to life, not extinction.

Moira Finucane is an Environmental Scientist, conservationist, and human rights activist. Her ethereal choir adorned in silk robes accompanies her. The legato trio of golden-haired and angelic, Clare St Clare, androgynous counter-tenor Mamma Alto with his glorious long cascading raven locks trailing behind him, and the exemplary vocals and eternal beauty of Shirley Cattunar. They glide down the crucifix inspired catwalk towards the altar of despair. The bars on the windows keep the predators at bay and the acoustics enhance their polyphonic singing.

Finucane enters the catwalk and acknowledges the traditional landowners and two Great Auk sculptures that resemble the endangered Mallee Fowl. The Auk, like all victims of genocide, try to stand proud yet battle extinction. Finucane is cloaked in the alluring couture The Black Lace Skin, a crown of crow feathers and extends her protracting, terrorising talons. She slinks and gyrates as she recites tales of her heartbreak from the crimes against humanity.

Finucane passionately conveys her beliefs concerning gender, family and youth violence in a tale of adultery, revenge and butchery. She undresses and adopts symbolic poses of torture, in a spot-lit outpouring of anguish, betrayal and murder, to the haunting composition from Shinjuku Thief. The artistic nudity throughout The Rapture monologues is very tasteful.

Collaborative direction from Finucane, Jackie Smith and Nicolas Dorwood ensures a commanding view from all four angles of the catwalk. In addition, Finucane prances and bounds the entire length of the catwalk or performs slow and methodical turning circles that give the audience a Shakespearian Globe theatre perspective. She is adept at lightening the mood in profoundly witty interludes amidst her darker monologues and songs.

Her next low-key story takes place in the warmth of Chile at an arts festival. She recalls a discussion of the ongoing detachment from the deliberate nudity of women on the stage and gender inequality as a whole. A bikini-clad Finucane assimilates bathing on the beach. The winds of change arrive and she emulates the cold banality of the situation with the art of human movement. Then unashamedly dons a faux fur coat, The Bear, to address the plight of the voiceless slaughter of fauna.

She continues her ‘salon of humanity’ to tell the shocking truths of the Yazidi women and girls and the abuse and atrocities they endure in the sex-slave trade. The stunning couture pieces appropriately titled, The Breastplate of Hope and Silk Iceberg, emphasises this exceptional monologue. Be forewarned; bring a handkerchief for you shall be moved.

The flawless score and music complement the emotive lighting. Finucane can be forgiven for a slight prop malfunction during an elaborate dance entwined in eight-foot black silk drapery. The silk couture is a performance art element that demurely masks her naked form and translates the allegory.

This cabaret drama is a worldwide venture of Finucane & Smith Unlimited. An Australian based collective determined to raise awareness of all species on Earth. The combined efforts of the company, singers, composers, artists, sculptures, couturiers and the insightful Fortyfivedownstairs, bring this unique manifestation to Melbourne.

Finucane is ‘the original’ of our time. The Rapture challenges ignorance, caresses the innocent foreheads of all children and ignites the healing of humanity.

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