Time Machine opened with the enormous metallic half-wheel device that features in all the show’s publicity photos. The performers – referred to in the show as dancers – leapt, strutted, climbed and balanced as the wheel rocked on an ever steeper gradient. As the momentum increased, they became like desperate mice trapped in an unforgiving wheel. The dance captain shouted directions and the others ran and jumped to their cues. As in everything they did, precision timing was clearly of paramount importance to the dramatic impact of the routine and their own safety.
This is billed as ‘extreme action’ and is credited as a new art form invented by award-winning performer Elizabeth Streb who formed her eponymous company STREB EXTREME ACTION in 1985. This is a fusion of contemporary or experimental dance with acrobatics and many of the elements of traditional circus skills. There are also elements of slapstick, of Charlie Chaplin and Buster Keaton. These works are designed to take choreography beyond dance, to defy gravity and to push the human body to its limits. In doing so, the performers become “action heroes”. For a screen-based culture, these are akin to the extreme stunts you see in movies and the authentic antics of Jackie Chan, but with the added impact of seeing them right in front of you, live onstage.
The all-ages audience clearly enjoyed the talents and athleticism of these lycra-clad performers, but perhaps not as much as was expected – the cast kept imploring the audience to applaud. One of my favourite segments of the show saw them working with two large panels that looked like big sheets of DIY plywood. Their skill in moving on, over, under, around and through the panels as they manipulated them around the stage was impressive, but it was nothing new. (Just imagine a polished iteration of the Eric Sykes’ 1967 movie The Plank).
There was also some extremely good trampoline work that left a few people in the audience holding their breath. In another segment, a performer contorted herself on a small ledge, hardly more than a bookshelf, in an amazing display of physicality that must have been painful in practice!
Since “action architect” Elizabeth Streb founded the company, it has performed around the world, including a highlight appearance for the London Olympics back in 2012.
A recorded voiceover track played as the audience were taking their seats to explain Streb’s background and the philosophy behind the works. This was an interesting commentary, but then it continued during the show, which did rather distract from the onstage action. In other sections, the onstage mixer played a soundtrack that highlighted the key moments and emphasised the drama.
Read: Performance review: Future Proof, Darebin Arts Speakeasy
Time Machine was unquestionably an impressive display of extreme physicality, but it really didn’t offer anything new or meaningful. It also seemed out of place in the confines of a regular theatre as part of the Adelaide Festival. The outdoor performances over the WOMADelaide weekend were probably much more in keeping with their “extreme action” ethos and rugged athleticism.
Time Machine
Her Majesty’s Theatre
Founder/Co-Artistic Director: Elizabeth Streb
Co-Artistic Director/Director of Corporate Growth and Programs: Cassandre Joseph
Chief Operations Officer: Shannon Reynolds
Technical Director: Matt McAdon
Assistant Technical Director: Jelani Lewis
Audio Engineer: Paul Piekarz
Co-Artistic Director/Performer: Cassandre Joseph
Performers: Jackie Carlson, Nailah Cunningham, D’Sherrick Williams, Andrea Laisure, Sarah Perez, Kai Rizzuto, Jaylen Taylor, Luciany Germán
Time Machine was performed from 14-17 March as part of the Adelaide Festival.
