-THE SEWERS! WE'RE DOING IT IN DUBLIN!!-
It's true! It's true!
We laid to rest our Ontological set
and we've buildt a new one to travel to lovely Ireland.
So if you missed it in San Francisco last November,
Or you missed it in New York in July,
Come see us in Dublin in RIGHT NOW!
The 18th through the 24th of September to be specific.
See for yourself at: The Dublin Fringe Festival
Book your tickets right here, right NOW!
Book here...
THIS IS WHAT IRISH THEATRE MAGAZINE SAID ABOUT US:
FIVE STARS!!!!!
The Sewers
Smock Alley
Mon 18 - Sun 24 Sep; 8:30pm
The Sewers is heady fun from Banana Bag & Bodice, veterans of the 2003 and 2004 Fringe. It begins with the familiar trappings of heavy symbolist stuff: a set designed to the hilt and laden with ambiguous meaning, lit by few light sources, ambient soundtrack playing as you enter, cast in situ locked in mechanical patterns of movement. Wait! Don’t leave yet!
The purgatorial space you enter becomes a theatrical battleground for the schismatic psyche, as author Jason Craig and company explore the sewers of the writer’s imagination. Into the drab waiting room where a greasy ‘cleaner’ (Rod Hipskind) maintains the order of dirty, ordinary things, and two female characters - or are they actors? – (Jessica Jelliffe, Heather Peroni) wait and wait, comes Craig himself: the Playwright, the Creator. This is the man whose directions cause action and spectacle, most of it meaningful, but much of it adding up to much the same thing: the ego-massaging of one who would call himself Playwright, Creator, Author, Director.
By the end of the play the two women have given birth by the Playwright, but to what? ‘We believe theatre should be a living, breathing organism that continues to develop and challenge’, states the programme. Ah, there’s the rub. Yet, as we are told at the outset, all the children are dead. We are asked to wonder whether if the artist impregnates the (empty?) vessel of performance, is the result a living, breathing thing, or the stillborn waste of an onanistic outpouring? Strong stuff, and yet mounted with creative vigour in every department; it stimulates the mind while keeping it entertained.
- Harvey O'Brien
THIS IS WHAT THEY SAID ABOUT US IN THE IRISH TIMES:
THREE STARS!!!
In the visually striking surroundings of a slaughterhouse made from paper walls, Banana Bag and Bodice's The Sewers is set in a sort of post-apocalyptic nuclear fallout scenario. A deranged, silent figure known as The Mechanic (Rod Hipskind) cleans the perpetually filthy floors of the abattoir. Jessica Jellife (sic) and Heather Peroni play two women who are possibly sisters, one of whom is the wife of Husband (acted by the play's author, Jason Craig). This storyline is then undercut by the fact that Husband is also an aspiring, pretentious playwright, writing the story before our very eyes, so to speak.
The Sewers, however, is less than the sum of its too many parts. Even when we are witnessing the deconstruction of theatrical illusion we should still be left with a sense of profundity. Instead, all we get is triviality, albeit of an inventive kind. The Sewers gags on too much of the tongue-in-cheek. (Until Sun)
-Patrick Brennan
But wait!
What's that you say?
You say we're doing a show at the SFFringe in September?
How could that be?
Read the next entry!
We laid to rest our Ontological set
and we've buildt a new one to travel to lovely Ireland.
So if you missed it in San Francisco last November,
Or you missed it in New York in July,
Come see us in Dublin in RIGHT NOW!
The 18th through the 24th of September to be specific.
See for yourself at: The Dublin Fringe Festival
Book your tickets right here, right NOW!
Book here...THIS IS WHAT IRISH THEATRE MAGAZINE SAID ABOUT US:
FIVE STARS!!!!!
The Sewers
Smock Alley
Mon 18 - Sun 24 Sep; 8:30pm
The Sewers is heady fun from Banana Bag & Bodice, veterans of the 2003 and 2004 Fringe. It begins with the familiar trappings of heavy symbolist stuff: a set designed to the hilt and laden with ambiguous meaning, lit by few light sources, ambient soundtrack playing as you enter, cast in situ locked in mechanical patterns of movement. Wait! Don’t leave yet!
The purgatorial space you enter becomes a theatrical battleground for the schismatic psyche, as author Jason Craig and company explore the sewers of the writer’s imagination. Into the drab waiting room where a greasy ‘cleaner’ (Rod Hipskind) maintains the order of dirty, ordinary things, and two female characters - or are they actors? – (Jessica Jelliffe, Heather Peroni) wait and wait, comes Craig himself: the Playwright, the Creator. This is the man whose directions cause action and spectacle, most of it meaningful, but much of it adding up to much the same thing: the ego-massaging of one who would call himself Playwright, Creator, Author, Director.
By the end of the play the two women have given birth by the Playwright, but to what? ‘We believe theatre should be a living, breathing organism that continues to develop and challenge’, states the programme. Ah, there’s the rub. Yet, as we are told at the outset, all the children are dead. We are asked to wonder whether if the artist impregnates the (empty?) vessel of performance, is the result a living, breathing thing, or the stillborn waste of an onanistic outpouring? Strong stuff, and yet mounted with creative vigour in every department; it stimulates the mind while keeping it entertained.
- Harvey O'Brien
THIS IS WHAT THEY SAID ABOUT US IN THE IRISH TIMES:
THREE STARS!!!
In the visually striking surroundings of a slaughterhouse made from paper walls, Banana Bag and Bodice's The Sewers is set in a sort of post-apocalyptic nuclear fallout scenario. A deranged, silent figure known as The Mechanic (Rod Hipskind) cleans the perpetually filthy floors of the abattoir. Jessica Jellife (sic) and Heather Peroni play two women who are possibly sisters, one of whom is the wife of Husband (acted by the play's author, Jason Craig). This storyline is then undercut by the fact that Husband is also an aspiring, pretentious playwright, writing the story before our very eyes, so to speak.
The Sewers, however, is less than the sum of its too many parts. Even when we are witnessing the deconstruction of theatrical illusion we should still be left with a sense of profundity. Instead, all we get is triviality, albeit of an inventive kind. The Sewers gags on too much of the tongue-in-cheek. (Until Sun)
-Patrick Brennan
But wait!
What's that you say?
You say we're doing a show at the SFFringe in September?
How could that be?
Read the next entry!
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