DEAN WALSH : REMOTE CONTROL @ EAST SYDNEY COMMUITY AND ARTS CENTRE

Sorry readers, but this performance needed editing and a dramaturg. While the idea behind it was great and the actual dance sections were terrific, it was way too dependent on technology and while yes, it was extremely intimate and revealing the monologues were far too rambling at times.

Walsh is an award-winning Australian contemporary dance and performance practitioner. He has been at the forefront of many significant shifts within the Australian arts and cultural landscape since 1991, having been significantly involved in the national contemporary dance, performance and disability-inclusive communities, major queer performance forums and the arts and environmental science sector – all progressive developments throughout his career.

Between 1991 and 2008, Walsh concentrated on devising performance works – over 20 solo and group – dealing with themes such as war veterans and their families, survivors of domestic violence (including homophobia and sexual abuse), dissecting notions of Australian masculinity and themes relevant to the Australian LGBTIQ community.

Since 2009, and assisted by a prestigious Australia Council for the Arts two-year dance fellowship (2011-2012), Walsh has developed an interdisciplinary, marine-environmentally influenced movement methodology . This show follows from Walsh’s most recent solo (Threshold:NRC) for PACT theatre’s double bill program Generations in June 2018,

The set design included an area of white parquet floor.It was eventually revealed that there was a timeline indicated on the floor, with an arrow indicating the future pointing out the door. There were lots of books around the edge of the space. Three large TV monitors balanced on plastic milk crates and at the far end of the space near the wall was technical gear including the eponymous Remote and a microphone etc ( Walsh was also ‘wired for sound’ for most of the show ). A ‘ house’ is delineated on the floor by a square and a triangle and there is a sculpture of what appears to be broken tiles ( ? ) in the shape of a human on the floor.

The opening was mesmerising as eventually we realised that there was what at first appeared to be a large moveable sculpture that was suspended from many hooks and straps from the ceiling and was ever so slowly pulsating – an underwater sea creature?. Eventually , Walsh in full velour body suit that appeared to cover both eyes and mouth emerged cocoon like, writhing and twisting and feline like slithers along the floor to the chair and the electronics stand.

Walsh has a long rambling at times mumbled monologue as his ‘alter-avatar’ about his life, previous productions and love of scuba diving. The show then alternates between various monologues and short dance solos .The TV screens at the back constantly have various images related to the monologues or are of Walsh’s past performances .The monologues are at times extremely intimate and revealing and the issues he raises most important – we learn about his diagnosis with Aspergers and ADHD, intimate family secrets and love of scuba diving and environmental concern for instance. As well, Walsh discusses his creative process and how he creates new work , and various companies and colleagues he has worked with are mentioned. ( eg ADT , DV8 , Murmuration , Ruckus and Restless Dance) . However, I would suggest that the monologues need editing and trimming.

Walsh is a mesmerising ,charismatic, sinuous and slinky performer: the actual dance segments are splendid, ranging from exuberant Mardi Gras marching, to a very strong and powerful memorial solo for his grandfather, a slinky solo in black high heels and a Margaret Chapple tribute and not forgetting a solo to Yma Sumac, where a long piece of red cloth becomes a turban and Walsh wears a pink feather boa. A solo standing on a small wooden base atop some of the milk crates was mostly as if trapped in an invisible, vertical box with angular yet fluid arms. Once Walsh stepped off the platform the solo became intense and aggressively macho with turned-in feet and the weight of the body tilted forward.

The idea behind the show was excellent, the individual elements very skilful. However – we had been advised that the show was roughly an hour long but it actually went for just over double that with no interval, and by about the 45 minute mark there was much surreptitious checking of watches.  With tightening though it would be a splendid performance.

Running time two hours 15 minutes no interval ( roughly).

REMOTE CONTROL by Dean Walsh runs at the East Sydney Community and Arts Centre 34 Burton Street Darlinghurst, NSW 2010 23 and 24 November 2018

https://www.eventbrite.com.au/e/remote-control-tickets-46642461859