The latest performance project which saw a collaboration between third year Theatre and Performance Students and Managing Performance students from the school of Performance and Cultural Studies, blended physical theatre, multimedia and storytelling within a context of horror and thriller. It was performed to a near-professional standard. Exploring three monstrous stories through a choreographic reflection, the large cast threw themselves across the gaping crevice otherwise known as stage@Leeds while portraying and exploring a range of fears, which offered an interesting perspective into our notions of fear.
The show ran for around 80 minutes and while some sequences were thoroughly interesting to watch, some seemed far longer than necessary. This may have been due to the fact that the students had to abide by certain criteria in order to produce a performance of high standards – which they certainly achieved. For example, the show’s introduction, clocking in at around 10 minutes had a unique combination of live performance and multimedia, using projections and film along with live narration. The poetic narration worked well with the memorable projections. The introduction was interesting and captivating and would have maintained this status were it a few minutes shorter. The students should be commended for their incorporation of video and projection which was well-timed and seamless.
The physical aspect of this performance project was exhausting to watch. As a Theatre and Performance student myself, while watching the ensemble crash and smash their way through a routine which saw the students turn and hit the floor, pick themselves up and run relentlessly through a series of doors, it’s gruelling to think how much commitment must have been put in to have devised such a routine. The show’s theme itself left many audiences feeling rather fragile, particularly through points such as the depiction of bodily fluids on stage which certainly struck a chord of horror with myself.
The ensemble did a fine job with meticulously precise set changes. The movement of doors and scenery throughout added to the professionalism of this production and it was most impressive to see the dedication which was used to even the smallest of details. The use of masks and baby dolls were reminiscent of horror films and added an extra thrill throughout. Yet other fears – such as the use of spoons as ketchup – while honest, felt a bit of a step in the wrong direction.
Overall, The Monstrosity of Things was an interesting piece of physical theatre which cunningly incorporated media and projection to heighten the thrill of its story. It is easy to imagine such a show being performed as part of a durational performance in a gallery such as the Tate. For the relatively short amount of time given to create a feature length performance, the cast did well to get their product to such a high level of professionalism.
Mark McDougall
Image courtesy of The Monstrosity of Things