Cruel Britannia’s atmosphere of uncanniness and threat created by gender conformity resonates with deeper truths that a more straightforward retelling might miss.
MUSIC: St. Vincent brings elusiveness, enigma to Palais Theatreis a striking play, performed with crisp intimacyClassic texts refracted and reimagined through the prism of trans experience are an irresistible lure for Kristen Smyth’s magnetic gifts. Her incarnation of Jesus, reborn as a trans woman in Jo Clifford’s, subverted Christian dogma and left transcendent the inclusive ethical crux at the core of many New Testament parables.
The text is moody in-yer-face theatre, the world-building brilliantly evocative. Although even those very familiar with the original may find the storytelling lacks clarity, its sustained intensity, the atmosphere of uncanniness and threat created by gender conformity, and an outcast’s quest to find sanctuary all resonate with deeper truths that a more straightforward retelling might miss.
There’s an urgency as she angrily paces, swiftly changing her guitar and returning to the mic while gesturing to the crowd to react and stand up. The orange and red-lit stage gives the illusion that …, she stands still, with her hands crossed at the wrist in front of her face. She soaks in the adulation like a patron saint receiving her disciples.Hatsune Miku is a superstar. She spawns into being on-stage with a flash of stardust.
It’s hard to escape the notion that this is part concert and part tech demo. The huge signs saying “Miku Expo”, for one, are more like something from a travelling convention rather than a pop tour. Miku is confined to an LED screen , and her voice is intensely auto-tuned and emotionless, stripped down to a sketch of a human voice. This, I’m sure, is part of the appeal.
The Offspring write easy, infectious songs that you can skate to, built on a formula of four chords and a bratty scream. It’s uncomplicated and unfussy, and that’s the appeal, and by god it works. is performed in the round and features a small Sacred Harp choir, singing hymns in four-part harmony.All art aspires to the condition of music, as Walter Pater noted, and although the chorus is an ancient dramatic device, theatre built around an actual choir is a rarer quantity. Choirs generally indicate transcendence, lifting a performance into a realm of unified abstraction, emotional intensity or scale that theatre strains to reach alone.
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