Loco Maricon Amor is a tragic love story. But it’s also mind-bending, funny, shocking, colorful, brutal and undeniably surreal. We meet Salvador Dali: famed Surrealist painter and respected God of the visual arts (Chris Beckey), who is married to the beautifully glamorous Gala (Caroline Dunphy). But when Dali crosses paths with Federico Garcia Lorca, the Spanish poet and theatrical artist (Thomas Hutchins), the two fall rapidly and passionately in love. A doomed love triangle ensues. Think you’ve seen it before? Trust me, you haven’t. This won’t be everyone’s cup of tea, but Loco Maricon Amor demands respect. It's a 100-minute marathon of song, dance and theatre and it's beautifully energetic.
Loco Maricon Amor deserves respect. It’s a 100-minute marathon of song, dance and theatre and it’s beautifully energetic.Director and designer Steven Mitchell Wright has led his troupe of performers and co-devisers to an astonishing destination. I’m having trouble thinking of another piece of theatre that has made me feel quite the same way. Continue reading Review: Loco Maricon Amor – The Danger Ensemble at Metro Arts
Interview 21 - 10 interviews ago as it turns out. Steven is the AD of The Danger Ensemble which has also featured here on Greenroom via last August's Hamlet Apocalypse. This work, another of Steven's creations, appeared in La Boite's 2011 Indie season. It was one of the more dangerous, 'in yer face and be damned if you don't like it' productions I'd seen in ages. But it was more than just dangerous for its own sake; it was risky, sure but courageous, thrilling and accomplished - and it got my heart racing. That doesn't happen to me very often in the theatre. The ideas and their theatricalisation did it for me with Hamlet Apocalypse. You can read the review here. This time around we talked about the latest work Loco Maricon Amor ('Crazy Queer Love' trans in case you wondered) which opens its world premiere season this week at Metro Arts in Edward Street Brisbane. You've probably already seen this wildly coloured, staring figure - the production image for Loco Maricon Amor. It's Salvador Dali, of course - the crazy, trademark moustache gives it away. The image, one of the more successful theatre posters I've seen for ages, hints at and suggests so much, teasing the viewer to engage with the real eyes in a painted face set against an exploding universe. It's a new work but I'm actually less interested in what the play is about - the plot to be terribly old-fashioned - than in the realisation of the work. I've already read in the media release that 'Loco Maricon Amor isn’t about any one thing. But it is about love and death and their interconnectedness.' Big call. To that end I steer the conversation around to how Steven and the Danger Ensemble work. I want to know where these ideas come from and how they do it - the nuts and bolts of their working process. How did Loco Maricon Amor take shape, for example? I know before I ask that it's not going to be a simple response, and that's the way it turns out.
The form of a work becomes its delivery method.As Steven puts it, 'Each project is different, and I'm adamant that each work has to find its own process.' Another side to the good design axiom of form following function. 'Finding this is important to me. But, at the start, the story has to be important. Why would you invest so much time and energy without a sense of its being important? And I need a sense of the "heart" of a work.' So, that's the way our discussion proceeds - about how this play found its authentic heart and external shape. Continue reading Steven Mitchell Wright (Interview 31)
Back to the theatre last evening for the first performance of the final production in La Boite's 2011 Indie program. It's The Danger Ensemble's The Hamlet Apocalypse directed and designed by Steven Mitchell Wright. It's had previous seasons in Melbourne and Adelaide, and it's now back home. Last night was the first time I've caught a piece from The Danger Ensemble and I'm very glad I did. Its intelligent, gutsy theatricality and complexity will please some and, just possibly, repel others. Whatever you do, leave your preconceptions in the foyer. As the website has it
The Hamlet Apocalypse is a dsytopia of the now generation, a silent party, a desperate plea, a rambunctious prayer... Seven actors stage Hamlet on the eve of the apocalypse. As the line between fiction and reality blurs; the actors, their characters and their worlds collide and are distilled into the simplest of human states. It's about the power of death and the value of life.The sheer energy of the ensemble at work and of the production itself is mightily affecting. Certainly, you cannot hide in the usual safety of the dark auditorium. Dane Alexander's sound and Ben Hughes' lighting are terrific and cruel! From the moment you enter you are caught in the spotlight - literally. The show gets its claws into you and, from this point until the final blackout, you are jumping in your seat. For 75 minutes there is no exit, no retreat for audience or performers ... Continue reading Review: The Hamlet Apocalypse – The Danger Ensemble and La Boite Indie at The Roundhouse