Reviewed by Barry Lenny, Wednesday 25th November 2015
It is all about a duck. Then again, it might be about the man throwing stones at the duck, or possibly about his two children, who were gleefully gathering the stones for him to throw. It could, perhaps, be about the woman who saw the man throwing stones at the duck. No, it is all of them; maybe. It is about all of that and then so much more.
An incident in Belgium, when Nicola Gunn saw a man throwing stones at a duck and tried to intervene, but was stymied by a language barrier, is the catalyst for a remarkable piece that, like the ripples spreading out from a stone thrown into still water, has many ramifications and leads to a multitude of ideas and questions.
Vitalstatistix are presenting the latest work from Nicola Gunn and Sans Hotel, commissioned by Mobile States, a sensational piece titled,
Piece for Person and Ghetto Blaster. Gunn is no stranger to Adelaide audiences, having been a regular visitor to the Adelaide Fringe over a number of years, and now visiting occasionally with new and always exciting works. This is the latest, and there are more in development, thank goodness.
Taking that one incident, Gunn builds on it and occasionally digresses, or seems to, then later refers to something mentioned in a digression giving it greater relevance to her narrative. We are given tantalising references to
Agatha Christie's Belgian detective, Hercule Poirot, and to
David Suchet, the actor best remembered for playing the character, right through to the philosopher, Arthur Schopenhauer. There is a good degree of humour in this work but it also serves as a thought provoking nudge that sinks in as the laughter ends after each clever moment.
We are asked to consider the actions of those involved in the situation, the reasoning behind their actions, the various available approaches to reacting, or not, to the situation, and the possible outcomes of intervening. Gunn's monologue takes many a twist and turn and engages with so many concepts that post-performance discussions could go on for days. At the same time, it is completely engaging and highly entertaining.
This is a complex blend of disciplines, focussing on Gunn's monologue coupled with choreography, by Jo Lloyd, which is a series of highly stylised movements that project a combination of a physical expression of the spoken words, and the internal thoughts and feelings behind them. Gunn is remarkably fit and flexible, which enables her to present some quite incredible movements but, to watch her do them, at the same time as presenting her monologue, is almost overwhelming.
Composer, Kelly Ryall, has contributed a strongly rhythmic electronic soundtrack that is employed once the ghetto blaster is wheeled onto the stage, through to the point where Gunn begins to question where the duck fits into the equation, when the music changes to a more expressive sound and we ponder what the duck might have said, could it do so. Gunn dons a headpiece and a multi-coloured coat with a long train to become the duck, the change in music and an elaborate laser light show juxtaposed against a series of evocative poses.
Nicola Gunn never fails to amaze and please audiences, and one cannot help wondering why she has not yet been snapped up by the Edinburgh Festival or the Adelaide Festival. In the meantime, of course, she is able to find the time to bring her cutting edge work to Adelaide, so take advantage of this opportunity to discover what the best of 21st Century performance has to offer.
Head to the home of Vitalstatistix, Waterside, at 11 Nile Street, Port Adelaide and catch one of the performances of this memorable and imaginative work this week. Hurry, though, as it closes on Sunday.
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