A VISUAL FEAST OF THE HIGHEST ORDER |
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) Suzie Moncrieff Guide, Scripting, Music Compilation Malia Johnston Artistic Director, Principal Choreographer, Scripting Heather Palmer Mentor, Competition Director Leonie Trathen Backstage Manager at TSB Bank Arena, Queens Wharf, Wellington From 24 Sep 2009 to 3 Oct 2009 Reviewed by Kate Ward-Smythe, 28 Sep 2009 |
Just as a group of Canadian visionaries turned their 1980s street performances into an "international phenomenon providing high-quality artistic entertainment throughout the world"[i], so too has the founder of the Montana World of Wearable Arts (WOW), Suzie Moncrieff, and her dedicated team expanded her 1987 rural art gallery promotional idea of taking "art off the wall to adorn the human form"[ii], into an iconic national annual event and an international hit. Suzie has created a sustainable artistic marvel that mirrors the success of Guy Laliberté's Cirque du Soleil.
Balancing its community spirited beginnings against an economic environment that demands that professional events are financially viable and able to leverage tangible returns to its investors, Suzie and the originators are also charged with the vicarious responsibly of ensuring WOW does not lose its original heart, its aroha, its roots: the unique fuel created in Nelson 23 years ago.
So how has 2009 panned out? Remarkably. That community-fuel is still part of the artistic core, yet the show's commercial and sponsor expectations and are also nurtured, resulting in an unforgettable night of awe-inspiring WearableArt from some of NZ's finest creative minds, paraded around and amongst dramatic brilliance and technical wizardry from some of our finest theatre designers and executed by a extremely skilled and disciplined production team.
WOW remains a visual feast of the highest order.
A key element of success is ensuring the vignettes of theatrical performance, which link each design section, do not upstage the garments themselves. WOW's Artistic Directors and the 5-person strong Design team ensure the balance between dramatic show and competition showcase is just right.
Unless someone is commissioned to write a short novel about this show, it is impossible to mention all its out-standing moments, as every garment and every transition performance (or performance element within a section), is a masterpiece.
Often programmes are over-priced yet under-deliver on interesting detail: not so with WOW. I would highly recommend purchasing and reading the programme, to maximise your enjoyment and involvement in the show. I would also recommend getting to the (transformed) TSB Bank Arena well ahead of kick-off, to immerse yourself into this new world, as the sweet groove of The Mamaku Project plays pre-WOW music. If you're lucky, your usher will be the cheeky Mr Fungus or the off-the-wall Vinyl Burns, two of Wellington's best interactive improv artists.
Bang on 8pm (full respect to the stage management team), and as the lone woman who has been busy hanging out her washing upstage finishes her chores; Dilly and Prue Ramsbottom (AKA Jools and Lynda Topp) wander on stage and turn the usual house keeping messages about photography and exits into a hilarious mischievous work of art.
One technical niggle - The Twins' headset mics - I think they are called "laveliers"? - did not deliver clarity or pick up enough vocal gain. By contrast, as soon as the Twins grabbed the more powerful hand held cordless mics in Man Unleashed, we could hear clearly without crackle, muffle and distortion.
The first showcase of garments is The Children's Section - this year the inspirational phrase is "At the bottom of the garden". The Peter Pan vs. Hook projected sword fight segues beautifully into a wonderful cascade of vines from the skies, followed by a gorgeous giant nest.
Vibrant colour and creatures were popular choices for many entrants, although section winner, The Dandelion Clock by Tracey Koole, Auckland, has an earthy core and is brilliantly brought to life by 3 young models - as are all the garments, thanks to the talented troupe of WOW children, under the direction of Julie Nolan.
Other stand out designs on stage include the Hundertwasser-ish Miro, Miro, Quite Contrary by Norelle Kendrick of Nelson (commended) and runner up My Big Bloomer by Paula Rowan of Wellington. Also impressive on stage is the vibrant lime-green Hum Bug; the splendid troll on a trike, called Nilbog The Garden Goblin, whose model gave him real character, the environmentally friendly creatures - Mulchkin and Recyclapede and finally, the quaint and dainty dancers forming The Daisy Chain.
The organic transition sees the grass uprooted by earthy dancers emerging from underground. Hook reappears in the wall of sheets, which thanks to some amazing mechanists, riggers & designers, then falls into the exact shape of Hook's ship with the Capt. at the helm - incredible! (Wonderful work too by video producer Michael Hodgson).
Next is the Air New Zeland South Pacific Section, with a giant projection of a graffiti artist creating a new façade. Director Taiaroa Royal's choice of music is a fabulous fusion of urban contemporary hip-hop and traditional karanga, haka and conch: the perfect underlay for garments taking their inspiration from "Patterns of the Pacific".
Stand-outs on stage include the authenticity of Tidal Traveller by Rita Schrieken of Paraparaumu (commended); the bright and bold Tikini, by Gillian Saunders of Nelson (runner up); the outstanding head gear of Poly-Prop; the texture and rich detail of In An Octopus's Garden and crowd favourite, Hidden Assassin, featuring a fury mammal hiding in a place which reveals Designer Lauren Kid has a great sense of humour. Interestingly, the section winner, Rock On In The Shadowlands by Janet Bathgate of Nelson, conveys little of the WearableArt factor from the audience's perspective, though the trio of dresses and eyewear are beautifully made. No doubt close up, there are impressive design details that are hard to convey in the epic environs of the stage.
The next segue is a technical and visual feast, featuring two top Wellington groups. Percussion ensemble Strike descends from the skies, while hip-hop dance sensation Legacy emerges from the floor to inject their energy into the night. After this remarkable rhythm, ethereal music plays in the darkness and your senses welcome stillness, which allows the mind to go back into neutral before the next visual stimulus.
White ghost-like dancers gently twist on up-lit plinths as we head into the complete freedom of expression of the America Express Open Section.
Many designers choose animals, the weather and fun as their start point for wearable magic. More so than in other part of the evening, the diversity of this section is intriguing. The eerie Lagarus Ovatus En Masse by Catherine Anderton of Wellington, with its absorbing eyes, is both Runner Up & Winner of the Booker Spalding First Time Entrant Award. By contrast, Let Me Bee and Spring Bride, brought to life by suitably vivacious models, are highly entertaining to watch in action. Heavy metal never looked so elegant as it did on DaVina by Frank Strunk III of the United States (commended). The beautiful Cumulus gives a graceful new lease of life to 1400 recycled plastic milk bottles, while a completely different cloud, Meteor-ology is a fascinating dark stormy crush. However, it is the fabulous bright and shiny American Dream, by Sarah Thomas, of Timaru, that is the winner on the day.
As the hard working and highly versatile WOW Dance Troupe (along with the NZ School of Dance and Footnote Dancers) seamlessly transform the graceful ghosts into stunning whirling dervishes, we move into the CentrePort Wellington Illumination Illusion section.
Luminescent shapes fly around, seemingly at random, and then form a stunning butterfly. The brief being to use the magic of UV light to give the appearance of levitation, many designers chose an aquatic theme to enhance the illusion of weightlessness.
A highly entertaining section, even the most simple of designs, such as Bright Eyes, Life's A Ball, White Flags, Long White Cloud and Crazy Frog (a crowd favourite), have dramatic presence thanks to the enhancement of UV. However, both the commended Psychedelic Symphony by Janice Elliott of Christchurch and the runner up, butterfly inspired Wanderer by Sue Cederman of Motueka, give good reason for their placement, by adding a layer of intricate detail to their work. In a league of its own is section winner, Into Thin Air by Marie Gant Roxburgh of Christchurch: Her giant eroding face is an evocative memorable work of fine art.
As the evening shifts from UV to AV, for a retrospective celebration of the last 20 years of WOW, petals fall like butterflies from the roof, a subtle reference back to the image that started the section. Special touches like this, dotted throughout the evening, are indicative of the meticulous thought and care the creative team have given every second of this extraordinary event.
Next is the gen-i Creative Excellence Section, which encourages designers to celebrate the artistic fold as they create. WOW's puppeteers integrate their precision and talent, by unfolding a gigantic dancing man, the perfect backdrop for a series of impressive garments.
Wonderful to watch in motion is the Runner Up to the Supreme Montana WOW Award - and Winner of the section - the semi-lucid reptilian wonder, Second Skin, by Hayley May & Fiona Christie of Wellington. Also very beautiful in action is Fold's runner up, Behind Closed Doors, by Kathryn Preston & Angie Robinson of Christchurch. Taking full advantage of the permission to use up to 3 models per entry, with a trio of silver and white, is the Runner Up for the Wellington International Award - and Commended in this section - Screen Play, by Amy Jean Boebel & Sue Hobby of the United States.
Other crowd favourites include golden girl and winner of the Shell Sustainability Award, Queen Adelaide (made of car radiator copper) by Emma Whiteside of Wellington. Firebird by Susan Holmes, of Auckland is the winner of the Untouched World WOW Factor Award.
You know it's gunna get interesting when the music switches to a good ole fashion how-down. As a mini covered in mirror balls makes a magnificent entrance, a troupe of gorgeous drag queens set the mood for the evening's most popular section, The WOW & Classic Cars Museum Man Unleashed. Quite apart from the fantastic WearableArt - highlights being the impressive roll out from the trio Da Vinci's Dandies by Heather Wallace of Wellington (Commended); the chic runner up Colour Blind by Dinah & Mark Walker of Auckland; and the more classical but just as wonderful to watch section winner, Sir Lazyboy by Cassandra Bowe of Nelson - the section, choreographed by the irrepressible Taane Mete, is presented among a brilliant unashamedly flamboyant showcase.
Only in this fantastic country of ours could two lesbians personifying Ken Moller & Ken Smythe (no relation), a bunch of dancers dressed like Superman, a gang of tight-bunned wash-board-muscled body builders oiled-to-perfection, and a gaggle of drag queens lip-syncing to Bonnie Tyler's 80s hit 'Holding Out For A Hero' romp beneath an ascending mirror-clad mini which then hangs high above the stage within a cluster of 20 mirror balls ... only to be Topped by the yodelling Gingham Girls (a quick change there!) who, like the consummate professionals they are, launch into the audience followed by a wild ensemble of country men, dressed in sequined chaps and cowboys hats and not much else, to seek out willing hoe-down dance partners ...
It is thanks to this perfectly timed moment, in the absence of an interval, that we all get to stretch our legs and move about. Yeehaa!
From this wild ride, the hall is alive with the sound of opera music as an oversized cascading shimmering silken gown provides the centrepiece for the Tourism NZ Avante Garde Section, where "art and fashion collide". 2009 Winner Supreme Montana WOW Award & Section Winner, Lady Of The Wood by David Walker of Alaska USA, in an absolute stand out. Four types of wood are woven together to form a graceful gown, which floats round the stage beautifully. Runner up AM I I AM by Rodney Leong of Auckland, inspired by Colin McCahon's work, showcases intricate craft and dedication to detail. Similarly, winner of the Wellington International Award & Commended in this section, Saddle Up, by Mary Wing To, of the United Kingdom, is a stunningly detailed work of leather, silk and human hiar.
As I try to take in the exquisite beauty of each, I am reminded that each garment represents the talent, skill and artistic vision of its creator as well as time-consuming blood sweat and tears. To each of the 165 dedicated designs - I salute you and thank you for taking the time to contribute to this iconic experience.
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[i] www.cirquedusoleil.com
[ii] WOW PR material