SummerWorks: Art, madness, longing & inspiration in the visceral, cerebral, deeply moving The Red Horse is Leaving

Moleman Productions presents a multimedia, multidisciplinary work in progress with its SummerWorks production of The Red Horse is Leaving; running for three performances in the Toronto Media Arts Centre Main Gallery. Written and co-directed by Erika Batdorf, with excerpts from artist Thaya Whitten’s journals and performance talks, and co-directed and choreographed by Kate Digby, the piece takes us on a thoughtful, moving journey into the playful, pensive and tormented mind of Batdorf’s performance artist/painter mother. I caught the closing performance, along with a sold out house, last night.

Part lecture, part performance art, part fly-on-the-wall experience, the audience is invited into Whitten’s (Erika Batdorf) studio as she faces off with a blank white sheet of Masonite; struggling to manifest her vision, her concept, in colours and brush strokes on a two-dimensional surface. All the while, a Gargoyle (Zoe Sweet) watches, climbing cat-like over tables and chairs—and even curling itself around Thaya—largely unseen but felt; its glowing, lit spine flashing and changing colour along with her breath and pulse.

Cerebral and visceral at the same time, The Red Horse is Leaving also addresses the issues of meaning, ethics, outreach and economics as they relate to art; and the changing landscape of art and artists, and how their work is perceived and received. Back in the 60s, performance art was the big new thing; controversial, revolutionary and exciting. Not so much anymore. Referencing “the red horse”—the subject of Thaya’s work in progress—we get the impression that it represents her muse, her inspiration, her passion. And it’s eluding her.

Beautiful performances from Sweet and Batdorf in this profoundly moving, thought-provoking two-hander. Batdorf’s Thaya is an artist with a curious, sharp and tormented mind; and a playful, tortured soul. Longing for inspiration and connection with her muse and her work, as well as her audience, Thaya struggles to reach out—to the white space before her and the world around her. Sweet is both menacing and adorable as the Gargoyle; moving with precision and grace under and over furniture, and coiling around the artist. Both bird-like and cat-like, it nudges and prods Thaya, offering brushes and even sharing a snack.

Inside Thaya’s secret heart, like her, we realize that longing can be a dangerous and unfulfilling thing—but it’s part of our human nature to strive and struggle to find meaning in our work, our world and ourselves.

With shouts to the design team for their work in bringing this multimedia vision to life: Mark-David Hosale (digital technology and sound, costumes), Sylvia Defend and Joyce Padua (costumes), J. Rigzin Tute (original music composition) and Alan Macy (biosensors).

This was the final SummerWorks performance of The Red Horse is Leaving; look out for the Toronto premier in the Rendezvous with Madness festival Oct 13 – 21.

Department of corrections: The original post had the cast credits reversed; this has been corrected.

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The humanity & commonality under the vestments in funny, moving, eye-opening The Clergy Project

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Father Daniel in The Clergy Project

A priest, a minister and a rabbi walk into a theatre… again.

Tracey Erin Smith and SOULO Theatre remounted The Clergy Project at Revival Bar for a one performance only show to a delighted sold-out house last night.

I caught the premiere performance of The Clergy Project back in May – and loved it just as much the second time around in this revised version, played out in front of an audience of friends, family, colleagues and congregants.

Father Daniel, Reverend Shawn and Rabbi Elyse are back again, sharing their stories of how they were called and the challenges they face doing this deeply human, intimate work. And wait till you get a load of the light bulb jokes! Part storytelling, part confessional, part love letter to their respective congregations, these three clergy get up close and personal, speaking candidly and bravely – and with humour – about their lives in religious service. And while they treat their jobs seriously, they’re not too serious about themselves.

During the post-show talkback, Father Daniel, Reverend Shawn and Rabbit Elyse talked about the joyful moments of ministry; the common thread that emerged was being present in their congregants’ lives, often from cradle to grave, and witnessing their milestones and moments of growth. When it came to doing Smith’s soulo workshop, each expressed a desire to take a moment to break away from their daily duties and be themselves during this process of creating a show (they did a 10-week workshop with Smith, specifically set up for clergy). As Reverend Shawn remarked, it can be a lonely role and it was good to spend time with other clergy to talk about their day-to-day experiences. In doing so, they became siblings in ministry, finding much in common despite their different faiths – and the love, respect and camaraderie show on stage.

The hope is that the show will shine a positive light on clergy and religion; and show that religion doesn’t have to be fundamentalist, bigoted, sexist, homophobic or narrow-minded. That religion and clergy can be there to show the way to depth and meaning, and be a positive force in the world.

The humanity under the vestments and commonalities that transcend religion in the funny, moving and eye-opening The Clergy Project.

The Clergy Project was a one-performance only event, but keep an eye out for future productions, as well as Tracey Erin Smith and SOULO Theatre’s upcoming projects, including soulo class shows and Trans Canada.

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