A brush with celebrity in the electric, tantalizing, surprising Intangible Adorations: Experience the Icon

Ensemble with the October 15 guest Icon. Lighting design and effects by Carl Elster. 

 

Haus of Dada, Workman Arts, KC Cooper and Meek present Lisa Anita Wegner and Scott White’s electric, tantalizing and surprising Intangible Adorations: Experience the Icon as part of Workman Arts’ annual Rendezvous with Madness Festival, running in the Workman Arts Chapel. The multimedia performance piece is part film, part performance art, part social experiment—as it explores the allure of celebrity and its impact on celebrity mental health. Each performance, a different mystery celebrity appears as the Icon, disguised in a morph suit. Will they reveal themselves or choose to remain anonymous?

Featuring performers KC Cooper, Emily Gillespie, Amy Loucareas, Meek, Jane Smythe and Lisa Anita Wegner; and hosted by creators Wegner and Scott White, audience members are ushered into the space as VIP guests of a celebrity. You’re given a VIP tag with your host celebrity’s name (I was with Tilda Swinton’s group) and invited to be seated by group for a three-part immersive experience of performance art and brush with celebrity.

We’re introduced to the genesis of Intangible Adorations with a brief documentary film highlighting Lisa Anita Wegner’s history as an actor, producer and filmmaker; and the diagnosis of Complex PTSD that led her to set off on solo film projects and an exploration of identity, iconography and transformation—and to the genesis of the morph suit-clad Think Blank Human that served as inspiration for this current project. For Wegner, art saves her life every day.

Prior to the appearance of the Icon, an audience member is offered the opportunity to get a taste of celebrity by joining Wegner and White up front and centre, along with the ensemble. It is a strange and discomfiting experience for the volunteer, even though she’s an actor. We’re reminded that lots of celebrities and performers are actually quite shy of the spotlight when it’s focused on them personally, as opposed to when they’re in character or in performance. Many performers are, in fact, introverts.

Wegner and White move on to give us a few rules of engagement with the Icon. Hints are dropped at who the celebrity may be: a female pop star of great renown, a major celebrity. There’s some buzz in the audience that it’s Madonna. A respectful hush falls over the audience as White ushers her in; the white morph suit, worn with a deep purple costume over it, covers her from head to toe, making it challenging for her to see. We’re called up by group to line up for a photo and an autograph; and then invited to head across the hall, into the Red Chapel.

While it may have a Game of Thrones edge to the name, the Red Chapel is actually a place of celebrity adoration—the Church of Celebrity, if you will. Here, we may sit where we like as we watch the ensemble, now all dressed in morph suits and costumes, prepare the way for the Icon as they move and dance (music by Pink Moth) around the ornate wooden throne, set on a dais. It is here that we will have a brief audience with her.

The Icon arrives to sit on the throne; White hands her a microphone and, through voice modification to maintain her anonymity, she speaks to us. Sharing personal anecdotes of youthful adoration and a more recent fan girl moment with a famous actor she respects and admires at the Academy Awards, she is genuine, candid, vulnerable and circumspect. She goes on to share her experience of and response to being famous, including sessions with a therapist; her talk taking on a confessional tone. Humble, forthcoming and generous, she moves to reveal herself—and then, with apologies, decides against it. The second-hand celebrity gained by the audience at having spent time with her is less important than the revelation that we are all worthy and beautiful people in our own right.

And so our time with the Icon comes to a close. The buzz about her identity continues: too tall for Madonna. Katy Perry? Lady Gaga? As we head back into the first space to collect our coats, ensemble members, acting as reporters, ask us about our favourite celebrities and how our views may have changed as a result of this experience.

If you had any aspirations to be a celebrity, the experience may have you thinking otherwise. And the electric buzz about the possible identity of the Icon was, I’m sure, accompanied by skepticism about whether the guest was an actual celebrity at all. How does that change the experience? And how would a reveal have changed the experience? Were we more at ease, as she was anonymous, vulnerable—humanized, even? Come and see for yourself—you have three more chances.

Intangible Adorations: Experience the Icon continues in the Workman Arts Chapel until October 19, with performances on Oct 16 at 8:00, Oct 18 at 7:00 and Oct 19 at 2:00 (final performance to be followed by a Q&A). Advance tickets available online. Enter through the main entrance off of Dufferin St. (where the box office is located up a short flight of stairs); a member of the company will come to escort you to the performance space.

Here are some photos I took last night; lighting and FX by Carl Elster. Thanks to Scott White for the photo of me and the Icon. And thank you to the Icon for sharing her time and thoughts with us last night.

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Check out the trailer.

 

 

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NSTF: Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque

Pea Green Theatre Group brings its own brand of dark period comedy/melodrama with Mark Brownell’s Clique Claque, directed by Sue Miner; running now in the Factory Theatre Mainspace as part of the Toronto Fringe Next Stage Theatre Festival (NSTF).

Clique Claque takes us to 1880s Paris, where we meet Madame Clothilde, aka the Chef de Claque (Michelle Langille), and her husband Yannick (Robert Clarke), who run a group of professional clappers paid to manipulate audience response to theatrical performances. They can turn a bad play into a smash hit and mediocre actors into stars. Their ingénue employee Clemantine (Thalia Kane) may seem to be the picture of naiveté and innocence, but she’s a veteran of the game; though all is not well for her.

Enter young Victor (Victor Pokinko), a one-time music prodigy and current out of work musician, newly arrived from Canada, and looking for inspiration and a job. The Claque takes him on and he proceeds with his education, and in more ways than one. As he becomes instrumental in the Claque’s plan to overthrow an opposing gang of audience influencers—a group called the Clique, led by mature student Dubosc (Ron Kennell), who brutally heckle bad performances—Victor finds he may be in for more than he bargained for. Ultimately, he must choose between what is true and right, and the bitch goddess Fame.

Incorporating some cheeky but gentle audience participation, Clique Claque is an entertaining and engaging show, featuring a stand-out cast. Langille is mesmerizing as Clothilde, the seductive mistress of manipulation. Good cop to husband Yannick’s decidedly bad cop, she may be the wife in the marriage, but one gets the distinct impression that it’s she who wears the pants. Clarke is the villain you love to hate as devilishly devious, cynical and thuggish as Yannick; he represents the dark, seedy underbelly of the Claque’s endeavours, while Clothilde brings the illusion of respectable professionalism.

As Clemantine, Kane brings some lovely layering and conflict; a young woman of some experience, she knows the harshness of the world too well and feels trapped in the Claque. There’s a lost, wistful sense of longing for something better. Pokinko’s Victor is a great combination of wide-eyed innocent and game lad; disillusioned with the world of art himself, he starts out just wanting to eat, but finds himself seduced by the prospect of money and fame. Kennell’s Dubosc is a sophisticated picture of art and academe. A man with a quick, wry wit and unexpected talents, Dubosc is a fierce crusader with a deep appreciation of the good life and that which is beautiful, especially beautiful young men.

With shouts to Nina Okens for the stunning period costumes.

Opposing forces battle for supremacy in the underworld of audience influence in the diabolically charming Clique Claque.

Clique Claque continues in the Factory Theatre Mainspace until Jan 15. Get your advance tix and passes online; and check out the full NSTF schedule.

Photo: Michelle Langille and Robert Clarke – by Mark Brownell