Last summer, upon emerging from Taylor Mac’s five-hour theatrical extravaganza The Lily’s Revenge at HERE in New York, I was charged with more than just the thrill of seeing a great show. The experience demanded I forge ahead, for the rest of my days, in a way that honored the why of my reaction. Basking in the aura of aesthetic perfection, transcendent command of technique, or crystal-clarity of vision is a pleasure worth paying for, to be sure, but one that often asks only to be received and appreciated—maybe also for you to insist that everyone you know buy a ticket, ASAP. These performances never ask—or care—whether you keep your promises, treat people with respect, or separate your recyclables. Revenge did, though—outright—and “Origins,” a music/theater/video/campfire/pizza party I attended Sunday, strongly concurred.
Poster design by Alanna Bailey.
This third annual show at Random House—literally a house, in Humboldt Park—began in the attic. An audience of about 20 gathered on the floor, on small mats. We were faced on both sides by eight canvas shades which rose, one by one, for brief pieces. Kate Sheehy, one of the event’s organizing forces (a trio that goes by Schjweet Troika), sang a little song praising the virtues of failure called “no brakes” while trying to balance on a child’s bicycle. (Later I found out Sheehy rides unicycles, and those tall bikes you’ll start seeing around again soon.) Cобака (Dog for A.M.), a scene for three written by Sharon Lanza, followed with a smart spoof on meta-theatrical self-consciousness played by two girls in a tent, at twilight at a summer camp, interrupted periodically by a stern, mirthless counselor demanding “lights out!” There was a sweetly-odd dance solo in a cramped corner (by becca hopson), a high-camp ode to chewing gum jingles and ’80s aerobics (Donnell Williams and Jyl Fehrenkamp’s Stuck on You), and a frank short story about a first trip on hallucinogenic mushrooms read by Sara Kerastas. Meredith Miller sang “Mack the Knife” with a thousand-yard stare during blood and bile/brecht and weill, unfolding swatches of burlap stained with silhouettes in blood—it was like a graphic-novella-as-crime-scene, the worms and beetles that scurry out if you peek at the mud under Sinatra’s rendition. Closing the attic show, Random House resident Jessica Hudson and Kyle Casey performed “the space between,” a song they co-wrote, separated by a miniature cityscape above which tiny hot air balloons drifted slowly toward one another, then up to the peak of the attic roof. “Do you know of a place…where I’ll be, and you’ll be/in the space between longing and relief?” they asked each other. “Come with me,” they sang. “I need you to see what I see.” The performers were illuminated by the audience: Flashlights distributed beforehand were passed around so those with the best angles could keep them lit. Read More…
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