Written by Aleksei Arbuzov
Directed by Simon Stone
Hype is a dangerous thing, a poisonous thing. It is seductive and works within the imagination first of all; a few sentences or a picture is enough to get it started. There in the imagination it simmers; the words of praise repeat themselves, the picture grows bigger, 3D in fact, and then extends to represent the entire breadth of one’s desire. But however perfectly it manifests in the brain, it isn’t satisfying simply to think on it. Despite trawling through the vast pools of information in the internet or library for more snippets or glimpses of its true nature, once that is exhausted you are left in the same position. Unfulfilled. Hungry. At this point it moves into the real world and becomes about sharing the hype externally, spreading it onto close friends or colleagues. Mining them for information, exciting them, watching them build their own fantasy and letting it inform your own. But still this is not enough, you’re still hungry, you just have company. Hype works insidiously to take over personal consciousness, until every waking moment is empty unless satisfied, for better or worse, by whatever is being hyped up.
For me, Simon Stone had a lot of hype. This is a director who at 24 is a member of one of “melbourne’s most vital new companies” (Alison) The Hayloft Project, who, after winning the $20000 George Fairfax Memorial Award in 2008, this year alone has directed 3xSisters, Spring Awakening, Leaves of Glass and The Promise, with The Only Child set to premiere at Downstairs Belvoir in September/October. He is in vogue, described variously as “brilliant”, “classical” and “dynamic” with an “eye for a memorable theatrical image”. I pored over the reviews of The Hayloft Project, excited that such a young company could be doing such intellectual and consistently acclaimed work, gagging to actually SEE something, after missing Spring Awakening at B Sharp in 2008. (which my co blogger Simon raved about to me). Finally, (and surprisingly) my opportunity came with The Promise upstairs at Belvoir, featuring two actors I greatly admire in Alison Bell (Moving Target) and Ewen Leslie (War of the Roses, The Serpent’s Teeth) and a third closely aligned with Hayloft, Chris Ryan. So, obviously… well come on, wouldn’t you be, I was keen keen keen keen for the show.
The Promise is written by Aleksei Arbuzov, a post thaw Soviet playwright who, in this particular work, focuses on a relationship formed between three teenagers during the grueling siege of Leningrad from 1941- 44. Then in a series of filmic scenes, follows the development of this triangle over the passage of time, first at the end of the war, then months, years later as they try to reconcile their fevered teenage dreams with their relatively comfortable existences. Steady jobs. Marriage. It is a work concerned with friendship, love and longing.
Simon Stone stages it on Adam Gardnir’s revolve, a raised wooden square construction which the actors appear from under and are turned around upon. Behind this, as the play progresses, various household items are placed opening up a new location, softly lit by lampshades. But the set is plain, and underused. The revolve adds little to illuminate the changing dynamics of the characters, more often than not serving to obscure our view of them, with the back wall of upstairs Belvoir getting many of the most powerful lines. The lighting after a promising start of strobe explosions and thin beams of warm light through a hazer, descends into a energy draining slew of long scene change blackouts which kill any tension or interest in the way the play moves through time. Even Hamish Michael’s gorgeous sound design couldn’t cover these deathly pauses in the story, which completely undercut the filmic nature of the text. Further than this there were TWO intervals, which further slowed down my engagement with the performance. I could say that the intervals were conceptually valid in that it broke up the acts, and divided the three distinct periods of the character’s lives, but really… It felt more like an opportunity for a set or costume change, (however miniscule or ineffectual they were) and purely practical rather than creatively interesting. The performances are strong, Ewen Leslie was by turns invigorating and desperate, Alison Bell passionately committed and Chris Ryan has a natural warmth and gift for comic timing. But even with these brilliant actors the piece is overly sentimental and never approaches the political undertones of the play’s setting, seemingly whitewashing it with romance and mateship. So if I can’t place the blame on the actors, or purely on the lights and set, I suppose I have to lay it on the director.
This for me is the danger inherent to hype. I thought the work was bland and after having read and built up an ideal image of perfect actor/adaptor/director Simon Stone, this was a severe let down. I saw no memorable theatrical images, nor anything of the brilliant staging I was led to believe in. Perhaps The Promise suffered for my expectations, maybe it was never going to live up to my imagination, but I don’t think that is the case. Other shows where I have indulged in the hype have far exceeded my expectations, the often used as an example War of the Roses and Pacciti Company’s Finale being examples of this. Given the sheer amount of hype Simon Stone has floating around him (the biggest rumour perhaps being the SMH’s suggestion
that he’s in line to fill the gap Neil Armfield is leaving at Company B’s artistic director), I thought that like the others I would be more than satisfied after seeing The Promise. In fact I was disappointed and not a little disillusioned. It’s left me with mixed feelings regarding The Only Child at downstairs Belvoir, which I will see, if only to compare a Hayloft project work, with a pure Simon Stone work like The Promise.
Has anybody else had any experience like this, or indeed an experience like this with Simon Stone? I’d love to hear your thoughts, however depressing they are.
Mark
169 comments:
I find myself guilty of succumbing to hype far more than I'd like to. Sometimes I guess it's difficult not to; whenever I don't see much (recently for example, I've only made it to a couple of shows in the last few weeks) I get stuck reading about shows, and looking forward to seeing them, and finding more and more things for which to get excited about. I'm still very much so looking forward to the Promise, but I know I need to try and temper that when I see it. I always try to go into something with no expectations, but it gets harder the more you know about it. And it's rarely useful - such was my experience seeing NIDA's Midsummer last week. Even shows like War of the Roses were made slightly awkward for me by the huge amount of hype. Conversely, last year I was told by many people that Scorched wasn't very good, and was exhilarated to find out how wrong they were. I guess there's something of a skill that needs to be trained to be able to not let hype affect you.
Will possibly say more things once I've seen the Promise next week.
Yes. Stone has a genuine talent and spark, and deserved the praise for works like Platonov or the first season of Spring Awakening. But his recent work seems more about superficial pop and crackle.
I'm looking forward to hearing your views on it Nathan. And yes i agree, as exciting as hype is (and as unavoidable) one must find some way of tempering it.
Superficial pop and crackle... nicely put anonymous, good to have you here.
The Hayloft themselves are some of the best hype-generators in the business. 3xSisters described itself as hosting the "three hottest young directors" (one of whom hadn't directed more than a few shows) and "the best independent theatre in Melbourne" - possibly the world, I presume. Whilst it makes me cringe, that kind of brashness is convincing for many - it sells tickets, gets funding (Hayloft recently received $23K from Arts Victoria) and... fuels more hype!
But when the experience you have is disappointing, or even just alright... it makes the plunge far deeper. And that kind of sentiment can spread too...
'Once bitten twice shy', and already Simon Stone has disappointed me severely twice. I agree completely with the 'over hype' surrounding him. With 3 x Sisters, his work was the worst of all the ridiculous direction. With Leaves of Glass I was left wondering if it would be possible for a director to 'brand' a work with obvious, superfluous 'direction choices' any more than Stone did, and if these choices he made bore an relevance at all to the piece. At the Art of Direction he made no sense, and came off looking very very sure of his right to the title of bright young thing. I am very glad that Hayloft exist, but I also think that they (and Company B) need to raise the bar - above Simon Stone.
Hi Mark,
I had the same experience with 3xSisters and Leaves of Glass. Admittedly, I didn't see Platonov, Pool No Water or Spring Awakening, so I was also subjected to the hype surrounding Simon Stone.
I was very excited before 3xSisters, for the same reasons as you. Stone's section of 3xSisters was the least effective of the three, and that production as a whole was a self-indulgent stinker. I was shocked at how sucked in many Melbourne reviewers were by what was an incredibly shallow work.
It seems to me that Stone tends to get one image and stick with it for the whole production: The waiting room in 3xSisters; and the plastic curtains in Leaves of Glass. Reading your review it seems that he has done this again. This seems to me to be a lack of understanding of the depth and complexities of the texts he is approaching, as well as the art of direction as a whole. The result is very flat theatre.
It should be pointed out that in both of these productions the quality of acting was generally quite high, so again you can't pin it on them.
I was in a play with Mr Stone some years ago. That was enough for me to not want to experience his ill-founded self-indulgent pretentiousness again. If his direction is anything like his conduct as a performer, the above comments tell me that I made the right decision.
Wow. I'm shocked by the weight of responses. Obviously Stone is someone it is impossible to have a mild opinion on. I would encourage everyone though to keep in mind that the danger of hype works in both ways, and that by slamming Stone personally denies him the opportunity to develop as an artist. We should judge his work critically and on a project to project basis, instead of unilaterally declaring him to have no worth.
That being said, I find the notion that Stone picks an image and sticks with it a very interesting observation Gilligan, and i agree that it seems to make the work somewhat superficial and unsatifying in a way that Kosky's Tell Tale Heart (which stuck to the image of the staircase) was not. It is perhaps a classic case of poorly intergrated design, wherein the conceptual gives way to the aeshetic 'trick' or 'brand'
Hi Mark,
I think the problem with this approach is that it is quite restrictive for the actors. For example, the staging in Leaves of Glass forced the actors to act almost completely horizontally across the stage, with very little energy coming out to the audience.
The problem with the hype surrounding Stone is that he is receiving it at a time when there are others doing far more interesting work in Melbourne. One only needs to have seen Michael Kantor's production of Happy Days at the Malthouse to understand how far Stone has to go before he should be considered for a position like Artistic Director of Company B.
We love a tall poppy in Australia don't we.
I wonder if a brash new director emerging from the independent scene in say, Berlin or London would have to be subjected to such shallow criticism - oooh how will I deal with the 'hype'. Well like Australians normally deal with hype - by sinking the boot in without so much as a waft of intellectual thought.
And the ole chestnut - Hayloft got $23k from Arts Vic!! Is that a lot of money to pay young, professional theatre makers in honing their craft? Really? Do you know how much it costs to put on a production?
You've all eaten the hype pie I would say and are ready to get stuck in to a new director who is young, intelligent and experimenting with form - publicly.
What are you doing?
Oh yeah, whining on a student blog.
Hi TBF,
Your response, I feel, is typical.
The criticism of Stone on this blog and in the subsequent discussion have been (with a couple of inappropriate anonymous exceptions)directed at flaws in his work, not at him as a person. Yet you immediately accuse people of having tall poppy syndrome and "sinking the boot in". Who's the one whining?
The same thing happened in the discussion that followed 3xSisters. If you wish to defend Stone (which you're entitled to) how about instead of taking criticism as a personal attack, you actually refute some of the criticism that The Perf, I and others have made of his work on this blog. Can you justify the seemingly poor staging decisions? Do you have any thoughts on the suggestion that he sticks with one image for most of the production?
If emerging artists, like Stone, are to present their work within the context of contemporary Australian theatre, and make statements like "best independent theatre in Melbourne", then they need to be prepared to be criticised in the same way as established artists like Kantor, Kosky etc. Stone needs to be prepared for this, and so do his friends.
hi TBF,
I certainly don't think we're sinking the boot in at all, as if a driven, passionate director in vogue such as Stone could be buried by as you say, whining on a student blog. And as for without a waft of intellectual thought, i think you'll find there is much in the review and in the comments that are specific and considered responses to the work. The work and not the man. As i've said, Stone is to be admired, but i simply did not find much to admire in The Promise.
Mark
Excuse the fuddy duddy cross-checking, but legal habits die hard...
Anna: looking over the Hayloft site, i could only see mention of "three of Melbourne’s best young directors". So it would seem they're not saying they are THE best but simply three OUT OF the best. Hardly that cringe-worthy. Perhaps hyperbole is in the eye of the beholder. Also, they're certainly not publicly claiming to be the "best independent theatre in Melbourne", although others on TN's comments are tarring them with that brush.
Gilligan: that extraordinary discussion on TN seems largely to be thanks to your noble but contradictory remarks. So, not sure what you mean by whining. Everyone seemed to be thoroughly enjoying themselves. But Melbourne really does take itself very seriously doesn't it.
Hi Rowley,
As flattering as your suggestion that the discussion on theatre notes was due to me is, I would suggest the discussion was actually due to the work that was presented by Hayloft.
In regards to your statement that my remarks were contradictory, I would suggest that my comments were all pretty consistent in their feelings towards that production. Although many people disagreed with me, I doubt the discussion would have gone on for as long as it did if I wasn't making a strong argument. Shallow comments tend to get ignored on theatre notes, and there were certainly some very intelligent individuals taking part in that discussion such as Tom Wright, Emily Sexton and Chris Kohn. Of course Alison as well.
Also, should Melbourne not be taking itself seriously?
By the way if you're concerned about cross-checking you should notice that it was TBF that suggested there was whining going on, I was simply responding to their comment.
Thanks.
Hi Gilligan
Your tone is indeed consistent. And you are far from shallow, merely peevish. However, you do reveal a certain youthful vigour in your posts and an interesting crush on the work of Daniel Schlusser, who it seems might not agree with your sense of derivativeness towards 3xSisters (given he agreed to be part of Hayloft's "Art of Direction" panel).
And, indeed, you were responding to TBF's note on whining, which you felt was related to TN's blog, which made me read that. A petty circle of argument you may say.
But enough ... I'm sorry to get all ad hominem on your blog, Perf. This Gilligan fellow is just very annoying and I doubt he'd know how to put on a piece of theatre if it slapped him in the mouth and called him mummy. Clearly not all theatre students are such fools, otherwise I wouldn't enjoy this blog so much.
My feelings towards Melbourne are entirely ironic, like the place itself.
Hi Rowley,
I'll quickly set a few things straight.
Although "crush" certainly isn't the word I would use, I do have a great deal of admiration for Schlusser's work. My referencing of his work during the discussion of 3xSisters was completely relevant as Hayloft was obviously trying to approach work in a similar way to him.
In regards to your comment on his involvement in the Art of Direction Forum, his opinion on 3xSisters had nothing to do with his presence. The forum's focus was on direction in general, and also involved two directors not associated with Hayloft. During the forum, Schlusser made no reference regarding his feelings towards 3xSisters. He was invited to speak about his experience and approach to directing, which is what he did.
Mark, I apologise for having to defend my comments from several months ago now on your blog regarding a completely different production. However, we have again had someone defend Stone by taking legitimate artistic criticism of his work as a personal attack and responding with personal attacks against those making the criticism such as "annoying", "peevish" and "fool".
Rowley, if you want to defend Stone, please try refuting the criticism both I and The Perf made of his work. I assure you it will do a lot more good than attacking me. I don't write on blogs to argue with people about myself, I do it to have a healthy discussion on contemporary Australian theatre. It would be great if others could try to do the same.
For future reference, I'm not a student, and your claim that I wouldn't "know how to put on a piece of theatre if it slapped him in the mouth and called him mummy" is rather presumptuous, given you have no idea who I am.
Gilligan I'm thoroughly intrigued as to who you are! Have been trying to work it out for a while now!
Interesting discussion all - moreso for me when focussed on Mark's original question, which was about hype. I agree with Anna in part... why not go with the big marketing rhetoric? It works. So Hayloft are an ambitious company - is there anything wrong with that? We should have big ambitions, complex visions and large aesthetics for theatre. If we fail, then we fail. Having a solid crack at it, and the courage to put your experimentation in front of an audience, is surely more important.
Really enjoy your thoughts, Mark. Am surprised there's so much reference to the student thing - your writing is far beyond that cliche.
Hi Emily,
Although it might come as a surprise to some, I have a great deal of admiration for Hayloft. Although to date I haven't seen anything from Stone to suggest he is a great director, he is certainly one of Melbourne's most ambitious theatre makers. His ability to gather artists together and provide an environment for them to create work together has made Hayloft one of our most important companies, if only for its ambition.
The problem with generating the hype that Hayloft has is that if you talk the talk you gotta walk the walk. I was certainly a victim of hype in regards to Hayloft. If you use hype as a marketing tool, and then your work isn't up to scratch, you come off looking rather arrogant and amateur. I think that's where Anna's comment on "the plunge" is interesting. But of course not everyone's experience with Stones work has been the same as mine.
Personally I would rather see artists let their work do the talking. You have to admire Hayloft for their ambition, but their work needs to match the hype before they should be considered one of the best.
Indeed, I agree.
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