6 - Tuesday, April 9, 2013
The Michigan Daily - michigandaily.com
1927 to bringdark
comedy show to A2
4
'The Animals and
Children' to take on
noir aesthetic
By GRACE PROSNIEWSKI
Daily Arts Writer
Art is an amazing thing. It
can whisk an audience away to
an entirely different place and
time. It can
create complex 1927: The
worlds and riv-
eting charac- Animals and
ters completely Children
unique to the T
work at hand.
It can be an Streets
escape from an
all-too-often Wednesday
boring and and Thursday
monotonous at7:30 p.m.,
life. Some- Friday and
times these Saturday at 8
worlds are p.m., and Sun-
pleasant; other dayat2 p.m.
times, not so Performance
much. 1927, a Network
London-based
performance $45
company, takes
the audience
through a grim and humor-
ous realm in "The Animals and
Children Took to the Streets,"
a production with a narrative
marked by suspicion and decep-
tion.
1927 was co-founded in
2005 by Suzanne Andrade and
Paul Barritt. The company's
journey to Ann Arbor started
a few years ago, when they
impressed a University Musi-
cal Society employee. Mary
Roeder, associate manager of
community engagement within
the education and community
engagement department of
UMS, saw the production at the
Fringe Festival in Edinburgh
and petitioned to bring it to Ann
Arbor.
"The Animals and Children
Took to the Streets" takes place
in a part of the city known as
the Bayou, where a large dilapi-
dated tenement block known
as the Bayou Mansions houses
a host of unseemly characters.
One night, the optimistic Agnes
Eaves and her daughter come
to stay, much to the curiosity of
the other tenets.
"As a whole, it's one the best
conceived and most fun pieces
of theater I've ever seen," Roed-
er said. "It is, as I said, a graphic
novel come to life. You feel a
little bit like you're trapped in
a cartoon when you're watching
it. It's a combination of anima-
tion, video and a live cast inter-
acting with that video."
The animation and video play
an important role in conveying
the darkly comic setting of the
work. And for those who feel
that electronics distract from
the performance, fear not.
"It's done so seamlessly
that you sort of forget they're
actually live actors. You think
they're a part of this film you're
watching," Roeder said.
All creative members of 1927
come from different artistic
backgrounds and are known
for their unique combination
of artistic mediums, employ-
ing a diverse array of both pre-
recorded and live material.
"That's really their aesthet-
ic," Roeder said, "combining
performance with animation.
It's something that you'll see in
all of their work."
The styling of the actors and
the setting is a nod to the early
days of film and lends the pro-
duction a noir feel.
"They're really inspired
by silent film and cabaret, so
there's a sort of nostalgia to it,"
Roeder said.
"The Animals and Children
Took to the Streets" is sure to
intrigue theater lovers, film
buffs and casual audience mem-
bers alike.
"I honestly say that it's one of
the best things I've ever seen,"
Roeder said. "It's going to be 70
minutes of the most fun some-
body could have in the theater.
You completely lose yourself
in this world that they've cre-
ated."
I
A
This kind of looks like John Lynch.
Blake finds his voice on
genre-bending album
Jam
in ele
course
short
Blake
gated
of
dubste
a sin,
writer
ByJOHN LYNCH ity, increasingly incorporating
Senior ArtsEditor his own voice among the synths
and samples of his production.
ses Blake is an anomaly In 2011, he completely aban-
ctronic music. Over the doned his layered, digital sound
of his for a spare piano on his rendi-
career, A tion of Joni Mitchell's "A Case
has navi- of You," which thrust Blake's
the genre OvergrOwn quivering voice into the front of
drop-less James Blake the mix and revealed him as a
ep with distinctive vocalist with a style
ger-song- Universal greatly indebted to the Califor-
sensibil- nia songstress.
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S2,7 ,(.xax- ta:lanl -tt -n
grown, Blake has matured as
a singer and composer, sprin-
kling shades of Joni, hip hop and
R&B over his most sophisticated
production yet. The album's
title track opens the record
by immersing the listener in a
gloomy atmosphere of plinking
keyboards before Blake appears,
showcasing his potent lyrical
and vocal abilities with the line,
"I don't want to be a star, but a
stone on the shore / Long door,
frame the wall, when every-
thing's overgrown."
Kanye and Jay
are big fans, so
you should
be, too.
* With the the exception of the
song "Voyeur," the glitchy vocal
loops of Blake's 2010 self-titled
debut are mostly absent on Over-
grown, replaced by (relatively)
traditional song structures and
the ascendance of Blake's un-
manipulated vocals. "Voyeur"
begins with a looping of Blake's
bleak melody and slowly inflates
into a trance-like dance anthem
for The xx generation.
"DLM" and the closer, "Our
Love Comes Back," combine
the heartbreaking vocal into-
nations of Blake's Joni Mitch-
ell cover with subtle electronic
production. Both songs presum-
ably yearn for the return of a
former lover and represent the
pensive, cathartic form that
Blake has slowly mastered over
the years.
Overgrown's two featured
performances provide further
diversity on an already genre-
bending album. Blake takes the
backseat, for instance, on "Take
a Fall For Me," a sullen track
which finds rapper RZA rumi-
nating on marriage and lost love
for 48 bars over some eerily Wu-
Tang-esque production. Simi-
larly, on the track "Digital Lion,"
Blake recedes and allows the
ambient synths of guest Brian
Eno to carry the heft of the mes-
merizing song.
The album's lead single "Ret-
rograde" is a stunning bal-
lad that enters delicately with
minimalist production - a
repeating hand clap and some
somber humming from Blake -
and builds to a remarkable clash
of synths with the song's chorus.
At this point in his career, "Ret-
rograde" is Blake's masterpiece
- the culmination of his various
talents packaged within a futur-
istic pop hit.
In his four-year career, James
Blake has blurred the lines of
electronic and R&B music and
picked up some notable fans in
the process (Kanye West, Jay-Z
and Stevie Wonder, to name a
few). Though Overgrown is like-
ly too dark and sonically per-
plexing to become a Billboard
hit, the album certainly estab-
lishes Blake as a groundbreaker
- the leader and sole inhabit-
ant of an "overgrown" genre, a
shadowy pop revolution that's
matured too far ahead of its
time.
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