I remember when my nephew was around 4 years old, I had put him on time out for misbehaving. When his time was up, I tried to rationally and calmly talk to him about why I had put him on time out – he kept talking to me about trains and his time on the little train at the zoo. Why is he telling me this? – I thought. Apparently he didn’t want to talk about being in time out. Forced Entertainment’sThe Coming Storm almost feels like a child trying to avoid talking about why they are in trouble.
After the performance I couldn’t help think that this troupe of performers that have been together for 28 years are happily stuck in their own twisted version of Neverland. Have you ever seen a group of kids creating their own make-believe story? They interrupt each other, they change rules to fit their own designs, they do their own thing all while doing it together, they compete for attention, they give up, they scream, they shout, they cry. They are able to make up such wonderful nonsensical stories without a care in the world. Simply put – Forced Entertainment are what happens when adults continue to play and create like a children. Plus booze, I’m guessing there was booze involved.
Forced Entertainment are known for their anarchic, deadpan work. For not just exploring new modes of storytelling, but for not telling stories at all. At least ones that make proper sense. Their work is focused on the liveness of theatre, the realness of the performer, and the actuality of fiction. Mixing into this storm of fragments is confusion, absurdity, answering “why not?” to those that dare ask “why?”
Although I’ve briefly studied Forced Entertainment and am well aware of their reputation, I had yet to see, to experience, one of their shows. I came in intrigued, and tried to leave any expectations at the door. Although for the most part I enjoyed the production and even relished in their collisions of fragments, I couldn’t help but ask, “Why?”
I read an interview director Tim Etchells gave about the company, their creation process, and audience response: “A response that we used to get years ago and which I still hear occasionally is people saying: I didn’t really get it, I didn’t really know what it was about… and then I gave up and I really enjoyed it.” We as human beings need to make meaning out of whatever we’re watching, doing, experiencing. The fact that Forced wants it’s audience to make their own meaning, and yet it seems that many just give up on making meaning to enjoy it makes no sense. But perhaps in that conundrum, we find a new meaning of performance all together.
Forced Entertainment certainly isn’t for everyone, but who exactly is it for? Through reading interview with Etchells and the other company members, they actively want to audience to fill in the gaps, but at the same time I can’t help but feel that this is entirely for themselves. Which is neither good nor bad. That’s the double edged sword of devised work – so much of it is about the process, that that process is lost when exposed to an audience.
As we left the theatre, I eavesdropped on a few people’s conversations (mainly school kids) some saying “WTF” and others excited by what they had just seen. A few people even left early. I’m sure some were bored, while others were gripped. Myself, I was somewhere in-between.
There were lovely moments of sincerity, quirkiness, chaos, clam, and even some clarity through the absurdity of it all. But it left me unfulfilled. Perhaps I’m reading way too much into it, but I sensed an anxiety from the company. An anxiety towards relevance – the quintessential theatre interrogation of “So what?” Well, it made me chuckle, it’s got me thinking, and overall I enjoyed the production – so it had some sort of affect on me. Maybe that’s “so what?” enough.
In reading reviews around this production, it also got me thinking about who this was intended for – as I said, I argue that it was for the company themselves. I’d be curious to hear what people think who don’t study performance, who aren’t well versed in different modes of aesthetics, styles, and genres of theatre and performance. The best reviews were ones that either knew or had researched Forced Entertainment’s body of work – that way they can make a contemporary and historical critique based on their influence and following. The worst reviews were the ones who had no such background, nor bothered to research. I don’t mean good/bad as in positive/negative, I mean it mainly in terms of writing and understanding.
I believe any piece of art/theatre should stand on it’s own. And the cultural significance around it and impact should enhance it, not be the reason it’s considered good or worthy. That being said, The Coming Storm stands on it’s own – but just barely. It needs a stronger rhythm and sharper editing. They say that this is one of their most elusive projects in quite some time – elusive it is. It’s difficult to connect to elusive, but is sure is fun to ponder on.
Off to get some tree branches, because it looks nice.
by 