Director, Renee Lyons
The Basement Theatre, Lower Greys Ave
Review by Catherine Hamilton
DREAMS is the Blackbird Ensemble’s latest reincarnation, and its
smallest one yet. But what it lacks in breadth it definitely makes up for in
depth, this show being more intimate and physically stylised than previous
endeavours. Entering the performance space is like stepping into a bohemian
bedchamber. Each band member sleepwalks onto the set, dressed in charming
vintage-style pyjamas. It’s the characterisation element that sets DREAMS apart
from previous Blackbird shows, the handiwork of visionary director Renee Lyons.
The evening feels like an extended hallucination. There is an equal amount of
frenzied rocking out, nightmarish twitching and lilting lullabies on offer,
subtly shepherded by musical director Claire Cowan as she flits between cello,
banjo, keys and vocals at one end of The Basement Theatre. Near her is the
supremely talented Jonathan Burgess on bass and double bass, and the
masterfully rhythmic Tristan Deck on drums and percussion. Sleepwalking down at
the other end of this extended bedroom is the zen Jonnie Barnard on guitar, the
mystical Kevin Keys on trombone and the spirited Callum Passells on saxophones.
Centre stage is Charmian Keay on violin, perched atop one of the several unmade
beds that make up the set. DREAMS’ two lead vocalists, Jessie Cassin and Mikey
Brown are free to wander and roam as much of the set as they can manage; Cassin
makes a particularly enchanting entrance by descending from the clouds via
glittering golden ladder.
It wouldn’t be a Blackbird Ensemble production without Cowan’s expertly
crafted and defiantly complex arrangements that tie together some of the most
unlikely musical bedfellows. After opening with Radiohead, Calexico and Iron
& Wine covers, we witness a jarring mashup of Loudon Wainwright III and The
Smiths. Before we’ve had enough time to wrap our heads around that, we’re up,
up and away tumbling over covers and mash-ups that boldly defy genre and the
expectations of a “mini-orchestra”. Highlights include that ever-mystical Kevin
Keys scaring us all a little with his rendition of Lullaby by The Cure and then
Mikey Brown really showing us what he’s made of in I Had A Dream Joe by Nick
Cave. Once again, Blackbird leaves me with an interesting and varied list of
artists to mull over, rediscover or introduce my ears to.
The reduced size format is refreshing and, though it doesn’t break down
the fourth wall entirely, the more intimate environment enables a different
kind of connection between the musicians and audience. The audience whoops, cheers
and laughs with the band and the evening feels more like being at a gig than at
a concert. This borderline-claustrophobic proximity did have its challenging
moments when it came to sound design; there were entire chunks of the more
boisterous songs where I couldn’t make out what was being sung. It was simply
getting lost in the noise. There were other times where players were drowned
out by their neighbouring instrumentalists, despite microphones or
amplification. This too may have affected the players’ ability to interact with
each other; Cowan and Barnard seemed relatively isolated from the core of the
band. I’d be interested to see how DREAMS interacts with other environments, in
a still-intimate-but-not-SO-small venue.
DREAMS is an inspired aural trip into the world of musical sleepstates
and the magnificent set, lighting and costume design combine to create a
gorgeously stylised and captivating fantasy to hang out in for the evening.
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