Complexity of Belonging – MTC and Chunky Move
It's natural to be apprehensive about any show which examines frustrations with the digital age. But combining theatre, dance and art, this ambitious and entertaining work might be the quintessential show of this year's Melbourne Festival.
Overview
At this point, it's natural to be apprehensive about any show which examines frustrations with the digital age. Though modern crises of identity are fair ground for artistic exploration, the topic so often comes off as trite or contrived. Something about its enormity or self-evidence attracts navel-gazing from young philosophers and eye-rolling from everyone else. I'm just as guilty as anyone; it was the subject of my major work for Year 12 Visual Arts.
But, despite this initial skepticism, Complexity of Belonging delivers an engaging and thought-provoking take on this completely groan-worthy topic. A co-production between MTC, Chunky Move and German director Falk Richter, this half-dance, half-theatre, live-art inspired show delivers surprisingly earnest insight and above all, entertaining performances from its cast.
Performing upon a surreal desert backdrop of what appears to be rural Australia, five dancers and four actors appear on stage through vignettes, monologues, and outright confessionals. Partially connected by the storyline of a French artist completing a "human installation" (Eloise Mignon) these characters are united by their shared frustrations and sense of restlessness. Throughout the course of the show we see a businessman snap under pressure, a young couple separated by failing Skype calls, and a gay couple who traverse the barriers of distance to create a life for themselves. All the while, the entrancing almost hypnotic choreography of Anouk van Dijk simmers on stage, setting the ominous tone and adding a sense of camaraderie aside each character's frequent moments of vulnerability.
Of course, there are still elements of pretension. The same navel-gazing I was guilty of in my VCE are still there in Mignon's character of the artist. If you weren't already cringing at the term "human installation" you will be by the time she reels off huge slabs of philosophical texts or tarnishes a somewhat affecting final scene by emblazoning an awkward heavy-handed moral on a large screen above the stage. It's no fault of the actor, but in lieu of a primary narrative, these sweeping theories and thoughts are a necessary evil to tie meaning to each small element of the work.
Though these moments of heavy intellectualism threaten to bog down they work, they are perfectly offset with humour. Most characters we meet are relatable, witty and downright charming. Karen Sibbing interrogates Aussie colloquialisms with a heavy European accent and Joel Bray and Josh Price offset each other perfectly as respectively upbeat and neurotic partners. But it's actually one of the primary dancers who steals the show. Lauren Langlois' rambling monologue about "the perfect man" is exquisite comedy, perfectly written and bravely performed. Combining rapid-fire delivery with beautiful expressive dance, this moment was so good it elicited rapturous applause from an otherwise stiff opening night crowd.
Scattered with small moments like this, it may not be conventional or easy watching, but in many ways Complexity of Belonging is the quintessential Melbourne Festival show. It's ambitious, collaborative, and jam-packed with big industry names. And, whether you view it as theatre, dance, art or some combination of all three, it's certainly beautiful to watch.
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