Carriageworks, Sydney, August 17.
Marnie Palomares has Alex Jones pinned against a wall and is trying to put words into his mouth. Literally. This would be a resonant image under any circumstances but as Jones is deaf it seems an even more intrusive and futile act than usual. Except it’s a moment that also feels achingly intimate.
Off the Record is full of pungent provocations like this as it investigates how information is transferred from one person to another and what is revealed – or hidden or misunderstood – in the process.
The stakes are upped by the knowledge that the performers’ real-life experiences were used as raw material, so one must assume that Jana Castillo did indeed incite a friend to sully her pristine Barbie collection by ripping dolls from their boxes and using them to demonstrate sex moves.
How much has been fictionalised (Zoe Coombs Marr was the text dramaturg) is impossible to tell. It adds an intriguing layer of perception in a piece that is already multi-layered and conducted in three languages: spoken text, movement, and the beautiful fusion of silent communication and movement that is Auslan. Occasional additions of audio-description and captioning bob up too. There’s a lot going on – so much so in this wide, relatively shallow space that occasionally there’s a sense of being at a tennis match, except one where the ball is in play at both ends.
The conjunction of arts and methods sets up a rich visual and imaginative world. Castillo’s extraordinary plasticity is used to convey her frustration about how bodies aren’t always obedient (“I don’t tic when I’m on stage,” she says). Auslan interpreter Neil Phipps has a great double act with Jones, with the two offering one of the funniest, most telling scenes in the piece as they vie for attention. They also share an exquisitely tender moment of connection, beautifully framed in Benjamin Cisterne’s austere set and lighting.
Gerard O’Dwyer’s sweet, serious presence adds a quieter and more mysterious thread to the complex business of how we explain ourselves to the world. He is a good person who just wants to be liked but it’s not necessarily easy.
O’Dwyer often speaks as if to himself. Palomares, on the other hand, is all super-confidence as she lays bare language’s potential for extraordinary unreliability. Interpreting for Jones at one point with utmost fluency, she is brightly engaged and totally clueless.
Danielle Micich (artistic director of Force Majeure) and Philip Channells (of Dance Integrated Australia) co-directed for Carriageworks as part of its valuable New Normal program. This is designed to bring artists from various disciplines and backgrounds together and to give greater mainstream prominence to work that is so frequently – and undeservedly – under the radar. In Off the Record Micich and Channells fluently cut across classifications and barriers as dancers speak, actors dance and the lines between them are blurred. The audience’s world is enlarged.
Off the Record takes a little time to get into its stride but by the end I wanted to know much more about these people – imperfect as we all are but significantly more honest about it. The show had a very short season in Sydney but one assumes there are hopes for more exposure. Off the Record is worth it.
It was impossible to see Off the Record without thinking of the company’s recent whack to the head by the Federal Government. Force Majeure recently lost four-year funding from the Australia Council after the debacle of former federal arts minister George Brandis’s money shuffle, taking from the Australia Council to set up his ominously named National Program for Excellence in the Arts. (Whose definition of excellence, pray tell?) After Brandis was replaced by Mitch Fifield some money – but not all – was restored to the Australia Council and Fifield turned the NPEA into a program called Catalyst – Australian Arts and Culture Fund.
The Catalyst website says the fund has $12 million annually to invest: “Catalyst will assist organisations to forge new creative and financial partnerships and stimulate innovative ways to build participation by Australians in our cultural life. It will enable access to high quality arts experiences in regional communities and international activities that achieve cultural diplomacy objectives,” it says.
Projects by small to medium-sized organisations are given priority.
The key word is “projects”. The Australia Council funding allowed companies to have certainty for four years; project funding is finite. Force Majeure also has triennial NSW Government funding and is a resident company at Carriageworks. So it’s not going out of business, as far as we can tell, but will undoubtedly have to do less business. As will so many other small-to-medium companies, as they were the ones hit by the Australia Council cuts.
This is the area where most experimentation takes place, it’s where artists find their voices and hone their skills. It’s where some of the most surprising, exhilarating and challenging work can be found. It’s where audiences can find a lot of bang for not many bucks. If the Federal Government were serious about wanting high quality arts and culture to be available to all, this is the last place it should be reducing funding. The amount of money involved is already in rounding-error territory when you look at the Federal Budget as a whole. It really is a disgrace.