ForsakenDAemon.net

It’s rare that I’ll make a blog entry recognising my Catholic heritage. And it’s even more rare that I’ll make a blog entry under the influence of anything other than caffeine. But, let’s put that aside and see what comes out.

It’s sad to me that people can’t put aside whatever differences they have and just get on in life. That really upsets me. In the end, aren’t we all just children (creations, ideas, facets) of $DEITY (the divine, God, Gaia)? Aren’t we all just as wondrous and beautiful and fantastical as each other?

It worries me that there is so much hate in the world.

Wouldn’t it be easier if we were just nice to each other for a change? Keeping in mind that one of the last people to say that apparently got nailed to a tree…

Peace out.

DAemon

Axeman Lullaby
BalletLab
Chunky Move Studios
8 August 2008

Opening with the crashing noise of thumping axes and flying wood, Axeman Lullaby is a modern and uniquely Australian piece of theatre from Melbourne contemporary dance company BalletLab. Based on the classic Australian novel The Chant of Jimmy Blacksmith, the piece delves into what it means to be an Australian, a member of society, or even human.

The thundering sound of wood against wood is used to good effect, with much of the opening section of the piece set to the pure percussion created by the performers as they swing their axes and collect the planks that make up the central floor. The physicality of the performers is especially evident in this highly charged opening, with planks flying across the stage in perfect unison.

With such a strong beginning, it is almost a shame when the traditional combination of piano and violin begins. However, David Chisholm’s music is strange, organic ad earthly, with unsettling use of harmonics and cluster chords across the two instruments. The interplay between the two is beautifully jarring to the ear, and counterpoints the odd interpretation of the story that unfolds on the stage.

The performance featured Laurence O’Toole, Australian (and world) champion woodcutter, whose talent is evidenced by the trail of dismembered and destroyed logs that he leaves in his wake. The sheer stamina required for the almost constant rhythmical chopping (which underscores much of the performance) is staggering, and it is easy to see why he drips with sweat through the curtain call.

Although remaining largely within the established genre of contemporary ballet, choreographer Phillip Adams has nonetheless produced a fantastical piece of Australian theatre. The scene danced on sliding planks, sounding for all the world like the rushing of a nearby ocean, is one of the most wonderful pieces of choreographic music-making that I have experienced in a very long time.

With such a uniquely Australian feel and story, Axeman Lullaby is a stunning yet disturbing piece of choreography. Violent, beautiful and intensely physical, the piece stands as a reflection of the earthly savagery that this country so often represents.