Not Interactive Theatre as in “some unfortunate schmuck gets picked out of the audience and is forced onstage to do the Can-Can only to be sent home with a humiliating Polaroid snapshot and the laughter of a thousand strangers ringing in his ears.” No, I mean the kind of interactive theatre where the actual mechanics of the art form are challenged. Where the Brechtian notion of alienation gets stepped up a notch and the performance is created by both the audience and the actors in full collaboration.
I produced this kind of stuff for years for Sausalito-based Antenna Theater. They’re known for putting their audience into headphones and then sending them through intricately constructed theatrical environments — sometimes prefabrications, sometimes pre-existing sites like the County Dump or Alcatraz. The “play” is created individually and uniquely every time a person goes through the environment guided by their headsets. Their actions become the performance itself (“Reach into the box…Take the necklace…Go on, do it before anyone sees you. That’s right, now put it in your pocket…”). It’s public spectacle, but also has an unnerving psychological element — no one will know if you’re giving it your all, but the more you “let go,” the better the “show” becomes for you. You’re the performer and the audience all at once, so the success of the piece lies as much in your own hands as in the hands of the “director.” Quite provocative.
I bring this up because last weekend I attended the first-ever SoWat Now! Festival of Contemporary Performance in Santa Cruz. It was a three-day showcase of local and international talents, offering a multitude of performances, workshops and panel discussions, much of it interactive. I took in as much as I could.
First, a few highlights: Anne Randolph’s solo performance Squeeze Box was a poignant & hilarious living-memoir based on Randolph’s experience working the graveyard shift at a homeless shelter for mentally ill women in Los Angeles. Randolph narrated and played all of the characters a la Anna Deveare Smith, and the kaleidoscopic journey she wove for us was both personal and political, funny and desperate, and remarkably genuine. I heard it was a hit in New York and has since been optioned for a film. I hope it gets made — but only if she plays every character on screen.
Another unforgettable performance was by San Francisco dance troupe Scott Wells and Company. Collateral Damage was a violent, comic, full-body contact chessgame of a dance that involved two men, one table, a bowl of pretzels and numerous flying, slamming movements sure to induce bruising on the parts of the performers. It left me gasping for air.