“Who accidentally comes to Orlando on Cinco de Mayo?” the guy at the motel asked us. Except more politely.
All we wanted was to get catch our flight in the morning. Not party. S didn’t even want to eat. But I voted with my stomach, and this time common sense was on my side.
The main street was crowded, but head five minutes in any direction and it was quiet again. We asked for directions, but didn’t know where we were going. What did we even want to eat?
At least we could get around on foot. Six hours of jetlag to go to a wedding on an endless road called Gainesville. At least here we had sidewalks, and didn’t have to deal with six lanes of traffic.
Somehow we decided on sushi.
It was pretty good, and the sake woke us up a little. But not enough for Cinco de Mayo.
Flight in the morning, and we weren’t going to rest at the other end, so best to rest up now.
It didn’t work, but at least we tried.
“You track them like bloodhounds. Now you want to tell them what to do. Or rather, what not to do. What not to think. What not to feel.”
“You said it yourself – The Nether is becoming our contextual framework for being. If that happens, the same laws should apply”
I discovered The Nether by chance. A friend had a spare ticket and when I’m invited to a dystopian I say yes. Jennifer Haley has crafted a short, but deep play. And it feels very timely. In the UK there have been some high profile pedophilia cases. SOPA has made people question what we expect from a service like the internet. And as I write Facebook is having a crackdown on users with pseudonyms. All of this is fits and weaves into the fabric of the world created. All warranting more attention beyond the narrative.
The Nether, in the play, is a virtual reality environment that is used as commonly as the internet is today. People work in The Nether, people are taught in The Nether. What is real becomes an evermore subjective question. The play follows an investigation into the legitimacy of a realm known as The Hideaway. On the surface this is about pedophilia, but in a virtual world where everyone behind their avatar is an adult that stance is anachronistic. But the exploration into legitimacy, legality and intent leads to some very muddy waters.
The Nether offers no answers, but offers a multifaceted space to ask questions. If Sims actions are entirely legal should he be investigated in the first place? Or is there a moral duty to consider the implications of the grooming that may occur? How much power should a civil body have over the actions of the individual? What is the nature of identity divorced from your physical body? What is the value of agency and freedom within a controlled environment?
The Royal Court production compelled me enough to pick up the script. There are many ideas packed into this play of just over an hour’s length. This production really engaged me. It has made me want to look deeper.
And keep on questioning.
At Tate Britain The Ruin Lust exhibition ran at the Tate Britain and looked at the interest in decaying buildings from 18th century Romanticism to stark modern compositions. Whilst most of the works tied quite well with this umbrella theme the transitions between the eras and styles were very abrupt. The juxtaposition between the schools of thought was interesting but it made a few pieces seem out of place. It was difficult to create a connection or narrative between some of these ideas or find the reason for the choice of artists. For example placing Turner’s Tintern Abby next a technically inferior contemporary was lost on me. While I find the picturesque nature of the romantic style aesthetically pleasing, overall I found the more modern works more appealing. Here are a few things that caught my eye:
Joseph Gandy – Sloane’s Bank of England
This was the pre 20th century piece that I found the most interesting. For the opening of the Bank of England building the architect commissioned this piece. I like the savvy combination of jumping on the popularity of ruins and finding a way to show off the ins and outs of your work. As a Londoner and someone who goes past that building semi-regularly it was nice to have a glimpse of what may be inside.
Laura Oldfield Ford
This piece stood out the most in the entire collection. However, not entirely in a good way. Placed opposite the Joseph Gandy and next to some faux-classical sculpture this piece caught the eye, but jarred with the rest of the room. The look into the urban decay from the perspective of squatters is nice counterpoint to the abandonment and isolation that comes up in most of the other work in the collection. This piece was by far the most modern seeming of the collection. Out the other side of the 20th century desolation. She is currently active and her blog, Savage Messiah, looks like a place I might visit again.
Tacita Dean – Russian Ending series
This series was made up of annotated postcards. For me, this image was the most interesting of the lot. Also on display was a piece of cinema showing the decline of Kodak. The piece showed (on film) the insides of a Kodak film factory on the decline. Possibly poignant, definitely meta, but (to my eyes at least) quite dull and mundane.
Jane and Louise Wilson – Urville
You can’t get much more stark than this. This is part of destroyed German sea defence washed up on the French beach that it had once defended.
Rachel Whiteread – Demolished
Gerard Byrne – 1984 and Beyond
I found this work brilliantly satirical. I didn’t have the patience to sit through one of the three half hour long video pieces, but the few minutes I watched made me smile. The pieces were very deadpan reenactments of interviews from 1963 with science fiction writers of the time. With them saying statements that the first immortal man may have already been born. I’m uplifted (and amused) by humanity’s optimism and ability to completely underestimate the complexity of ourselves and the world we live in.
Phyllida Barlow – Dock
There were some pieces I really liked in the collection, but the curation left me with a mixed impression. However, all of this was eclipsed (literally) by the exhibition in the huge Duveen Galleriesnstallation. The room was filled from floor to ceiling with makeshift structures made out of common DIY materials. Going through it on the way in and out was an odd juxtaposition. It had a grandiosity that an exhibition glorifying buildings failed to capture. It also brought the idea of transience closer to the front of the mind than most of the works. (It’s going to have to be completely dismantled to be about to be taken out of the installation space.) This is in the free area and is worth a visit alone.
Kap Bambino are a French electro band. I first saw them supporting Atari Teenage Riot a couple of years ago. That was a really good gig. I even started following FOE who were the opening act. Kap Bambino didn’t quite click for me, but one of my friends got really into them. When he asked if I was up for seeing them again, knowing what to expect this time, I thought I’d give them another go.
You know it’s a weird running order when the band you want to see is after the headliner act. But when your night runs to four in the morning (and it’s not a rave where your audience is expected to be nocturnal) it’s not too surprising. Vitalic was the headliner, surrounded by some DJs who were fairly forgettable. There was a second room (read: the bar) which was more dubstep oriented, but we mostly went for generic house over generic dubstep.
I love Koko as a venue. It’s got gorgeous red decor, it’s tiered in such away that it’s easy to get a good view and I like anywhere that feels like a labyrinthe. But saying it has a second room isn’t saying much. I don’t know if you could even fit 100 people in there. The acts in that room weren’t expected to be very popular.
Vitalic was joined on stage by an electronic drummer and a keyboard player. They immediately felt more live and engaging than the DJ before him. The music actually had some dynamic structure to it and more substance than the hook. When you have the confidence to pause between songs at this type of event you are probably doing something right. It may be middle-of-the-road house, but it was well executed and had us on the dance floor.
Kap Bambino were on last, at 3.15am. I was surprised at how full the place still was after Vitalic had played. The DJ between Vitalic and Kap Bambino was forgettable, if occasionally interesting, but was playing the kind of music that would keep you dancing. You could tell when Kap Bambino took the stage as a cacophony descended. I usually think it’s a good thing when a band polarises a room (unless these people are already your fans) and I wasn’t surprised when the room was noticeably emptier after their second song. They were relentless with their tiny female front woman screaming over mangled dance music.
Half the crowd may have left, but the other half loved it. We were asked by two different people who that last band were. The strange running order didn’t seem to matter any more, there wasn’t anything that could follow that. And yes, I was definitely converted.
At Earl’s Court
Bloc Party are a London based indie rock band with a very distinctive sound. They recently reformed and have released their forth album imaginatively titled Four. Four does have some of their is a bit stripped back compared to Intimacy, with no synth, but does have their signature delay used throughout. It does feel like a deliberate change in direction after taking a break.
The main support were The Joy Formidable. They are an energetic mix of catchy indie pop and shoe-gazer soundscapes. Perfect to enjoy at three in the afternoon with a beer in a field. But it was weird seeing them when it was so cold. There was a level of intimacy lost in the size of the venue, but there was a large fan base obviously enjoying themselves at the front.
Bloc Party opened with So He Begins to Lie into Hunting For Witches. They were impressively tight and hand an energy fed the crowd. They played a solid set from start to finish. It’s almost as if they had never taken a break.
There was a good mix of new and old, but a conspicuous lack of anything off Intimacy other than the odd choice of Ares. There were some classics with songs like Banquet and Waiting for the 7:18 getting the crowd young and old singing along.
Some of the new material did stand out against the older material, but their sound is so varied it doesn’t really matter. They finished on Helicopter, very fast and strangely loose compared to the rest of their set. It was a good night and it’s been a while since I’ve been to a gig with as good a light show.
At The Underworld
Black Light Burns is creative work of on and off Limp Bizkit guitarist Wes Borland. He was described it as his main project and free of the need to be commercial or fit someone else’s vision he has had the freedom to be far more experimental. We’re still talking industrial rock, but it definitely has a flavour of its’ own.
I like the Underworld as a venue. It’s small and dingy with that “everything painted black” look. I wasn’t sure the stage was going to be big enough, but somehow they managed to fit a drum kit in the back.
The main support was Jayce Lewis who I’ve seen before supporting Combichrist. I don’t know whether it was the smaller stage, the new material or just having played more, but I thought they were a much better band. Their industrial rock sound was cohesive. Jayce playing additional percussion didn’t feel crowbarred in and they even made a show piece of it. They have an album out later in the year.
Black Light Burns made an unpretentious entrance and played a solid set from start to finish. The fact they were on tour barely registered. It felt almost as if we were in a small bar in their home town and they were bantering with the regulars. There was a strong sense of camaraderie and we were part of it. Jayce Lewis and his band felt it too and thanked the band for their involvement with the tour.
The time passed too quickly with Black Light Burns playing to curfew. Not even pausing for the ritual of an encore.
At The Southbank Centre
The Tiger Lillies are an esoteric band. It’s not often you find someone who makes blasphemy a major theme. However behind the inch thick makeup up and farce are some talented musicians. Only a passing knowledge of the band is enough to know that this wasn’t going to be a typical production.
Working with the Republique, it was an impressive production combining music, dance, theatre and cinema with excellent set design and choreography to make an interesting dream-like experience. Whilst remaining faithful, a very minimal approach to the original text was taken. The cast was stripped down to Hamlet, his family, Ophelia and her family. Dialogue was minimal. Most progression of the story took place in the form of soliloquies and the pairing of apt choreography and music.
The use of slow-motion and stripping the story down to its core emphasized the descent into madness. Without Horatio there are no other witnesses to the dead king’s ghost leading to Hamlet coming across unhinged from scene one. Without Rosencrantz and Guildenstern Hamlet rants to himself using the cast as puppets or figments of Hamlet’s imagination.
The climax of the play wouldn’t be complete with a string of deaths, and to this end the production does as expected. However, when you remove the minor characters and more than half of the remaining characters lie dead. It makes the characters personal ambition seem more futile.
Hamlet isn’t a play I know particularly well. I did have to make intuitive leaps as the play progressed due to the format being relatively abstract. However, there was a cohesive sense of atmosphere and degeneration. Leaving I did hear some mixed reactions including “once I got over it wasn’t what I expected”, which is fair. But it would be a shame if every production was typical and predictable. Prior knowledge needed is a legitimate complaint, but Hamlet is so ingrained in our culture my second hand cursory knowledge was enough to get me through. However, working with the style the did I think they did a fantastic job and I thoroughly enjoyed myself.