It is a tough thing for a cultural kingpin
to admit: I was in the wrong place on Friday night. Sure, there was a certain
pleasure in seeing my old favourites, Forced Entertainment, remind the Tramway
of past glories and future despair. Once upon a time, Bloody Mess was the catalyst that moved me from being a lusty young
Latin teacher towards becoming the creepy old critic I am today. Last week,
they took to the Tramway twice (The
Coming Storm had the full team, Tomorrow’s
Parties was a conversation, perm two of six from the gang). They conjured
up the memory of how potent a theatrical presence they could be – like the
poking the ashes of a past conflagration, searching for past passions.
Anyway, I’m not here to mourn Forced
Entertainment – both shows were good examples of what they do, and there’s no
point in expecting another Bloody Mess
(it was a life-changer, and too many of them are as bad as not enough). It
might have felt a little safe (breaking theatrical convention, being
pessimistic about the capability of humans to master their destinies: they did
it before and better), and while both shows might have been a little long, the
students in the audience better not be discounting what they saw.
I am here to moan that I wasn’t at the
Briggait: 85A were doing some kind of sharing. I wasn’t there, I didn’t see it,
but I have heard cool things about a 3D laser effect, a blindfold aerialist and
a slightly saucy fairy tale. I can’t say whether 85A are delivering on the
promise of the line-up. It’s just that while Forced Entertainment are on the
verge of becoming a nostalgia trip (or a museum piece, a source-book for
makers), 85A are the best bet for the future wave of Dynamic Glasgow Theatre.
(Back in the day, after Bloody Mess, the largest part of
Glasgow’s younger theatre makers either copied or struggled not to copy: even
marginal FE visits, like the Void Story
that arrived during the National Review of Live Art, inspired many of the youth
to claim a pessimism that really belonged to a once essential vibrant company
shading into middle-age)
(Not that there is anything wrong with what
FE are doing now: the slightly weary commentaries on life are appropriate for
an aging company and taking too long, repeating ideas, teasing the audiences by
never reaching a climax: it keeps them a little indigestible, which is the
point of being a provocative artist)
(In my middle years at The Skinny, I made a
point of calling them The Overrated Forced Entertainment. It was unkind,
especially for a company who had inspired me so heavily, but reflected my own
resistance to the process of hagiography that was being encouraged… nothing was
going to come close to Bloody Mess
but their History of the World had
less impact that a title like that demanded… Void Story was so bitter, it smacked of middle-class performers
taking a holiday in someone else’s misery)
(85A may never deliver on their promise,
may never be more than a grand collective, or remain in film and events, and
never achieve any theatrical brilliance. But it is the seeds, the signs of life
and the breadth of enthusiasm and talent that they are engaging)
(Spectacle,
which had a more intimate atmosphere was a partial return to form – instead of
having a big show, they described it. This lent the performance a self-effacing
wit. It took the pressure off to recreate the wild ferocity of Bloody Mess. Within a year, a local
company who ought to have known better, copied this approach. They tried to
excuse it by saying that they intended to ‘do the big version.’ But despite its
charms, this show was evidence for how far in hock to FE Glasgow remained. It
might be better to retreat than stifle another generation… it may not be the
best night out, but it is saving Arches Live! from another five years of
photocopies)
(There was plenty of fun and energy in
those years, mind. The copying was both tribute and attempt to grapple with the
implications of Bloody Mess. After
it, doing the usual was not going to be possible…)
(And most of the imitation was in the form
of strategy, not content: a Fish and Game show that owed much to Spectacle investigated more than just
theatrical absence. It was a work-in-progress, too)
(85A are in a liminal space between theatre
and film and visual art and happening and music and sound art and… There is no reason
for them to be heralded as the future of any one art form but in this mixture,
a move back to Total Theatre that I bet Wagner would appreciate, they have the
Shock of the New)
(How did Bob Dylan feel in 1965? How did he
feel in 1984? What does an artist do with potential, what does an artist do
with legacy?)
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