Image courtesy Present Tense and Theatre Works
Ricercar is, in the words of its creators, ‘The ordered artistry of JS Bach meets the explosive energy and mania of contemporary theatre’. The myriad intricate ways in which these two forms meet and mingle, though often confounding, are nonetheless a thrill for the senses. The show is structured in two ‘books’ or acts. The first act is the music of Bach, without any embellishments or additions. The second act expands around and between Bach’s compositions, introducing contemporary musicality and theatrical expressions.
At the beginning of the show, we are led from Theatre Works to a secret location nearby, where we are told that this experience will be about listening. We are then invited to look around the space briefly before taking a seat and, if we wish, closing our eyes. It’s a revealing offer – the creators of this piece understand that theatre, rather than music, is their audience’s first language. The act of asking the audience to close their eyes takes what might have been a visually unstimulating experience for a theatre audience and makes it theatrical. I cannot speak in much detail of the music we heard in this section, other than to say it was profoundly beautiful. I’m not well versed in classical music, but I found immense pleasure in sitting with the music in the dark. The ensemble made full use of the space, with voices moving around the vast building, seeming even at times to move through the walls. It was a delight to be invited to listen so fully.
Though this listening experience was pleasurable in and of itself, it was also a relief to step into the second ‘book’ and immediately be confronted with bodies, costumes, scenography. Whilst the piece never goes so far as to give any clear indication of narrative detail, the vignettes of the second half interact with language, character, gesture and contemporary musicality to evoke moments of character or sensation. In their program notes, directors Nathan Gilkes and Bryce Ives state that ‘there is no “known story” here; no hero; no familiar narrative… There are very personal ideas behind this work but ultimately we hope you find your own ideas and meaning’. The work certainly provides an interesting space in which to think and interpret, but I struggled with the lack of focus here. As the piece careened from oddball comedy to sublime aria to violent physicality, I wanted some handrail to hold onto; some semblance of order around which to organise what I was seeing. I was absorbed by the sensations of the experience, but struggled to connect with the idea of one consistent offer being made by the piece.
It’s worth mentioning again the consummate musicianship of these performers. Each one of them soars; the music holds us through each moment of our experience. From Xani Kolac’s lyrical arrangements of Shakespeare’s sonnets and brilliant loop work, through to Shauntai Batzke’s electrifying soprano, every note is a joy. And perhaps this work can teach us that that can be enough; that the theatre can be a place of sensory offers made without any specific communication in mind; a place to reflect upon whatever may arise for us out of the abstract.
Rating: 3.5 out of 5 stars
Ricercar
Presented by Theatre Works and Present Tense
Collaborating artists: Shauntai Batzke, Xanthe Beesley, Laura Burzacott, Aubrey Flood, Nate Gilkes, Simon Gilkes, Daniel Han, John D. Howard, Karen Ireson, Bryce Ives, Xani Kolac, Mark Leahy, Marcello LoRicco, Tammy Marshall, David McNamara, Emma Roberts, Bronwyn Shipway, Jennifer Tran, Richard Vabre, Rosie Westbrook
Theatre Works, St Kilda
www.theatreworks.org.au
24 November – 12 December 2015
