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FRINGE '04: To Be Frank - Monster Productions

To Be Frank

"Life and death appeared to me ideal bounds to break through and pour a torrent of light into our dark world" - Mary Shelley

Monster Productions presents a collaboration between dancers Adrian Smith, Matt Gibbons, Bronwyn Hayward and multimedia artist Mic Watts with lighting design by Glen Ashworth. Wellington and Auckland based artists, they are truly inspired by the tale they present for the audiences re-creation.

Reanimating Frankenstein as the making of a shared dream for creating upcoming generations of humanity. Incorporating serious theatre, live multimedia and dancey dreams. An exploration of the text and its wider transmission through the culture industry, sparking associations and screen conflicts that project onto the mind itself!

Bats Theatre 10-13 March 2004, 9.30pm $10/12/14
http://www.themonster.org.nz

Reviews of previous works:

NZ Listener, 03 May 2003
Touch Compass, Acquisitions

“Opening with Manawa by Moss Patterson, the piece saw an elastic Matt Gibbons coil and shape smooth patterns, and then joined by three other dancers, trace outlines of kowhaiwhai . . . . Grace by Catherine Chappell was stunning. Bronwyn Hayward was suspended in a huge swathe of rich velvet, hovering over her floor-bound partner, Maaka. With only her arms and face visible, they danced together, bird and lover, mirroring each other’s movements - a balletic pas de deux with a difference.”

Reviewed by Francesca Horsley

The Dominion Post, April 16th 2003-12-29
Pulse.art - Unitec 3rd Year Tour

“Adrian Smith is a chunky and intriguing performer with the influence of Douglas Wright written all over him. He danced his way into a suit and tie then flew on wires and coat hangers in the funniest and cleverest dance I’ve seen in a long time.”

Reviewed by Jennifer Shennan

NZ Listener December 13 2003
Matt Gibbons, Late Night Choreographers

" It was a hilarious end to a night of contentious themes and dynamic movement... good to see choreographers still pushing the boundaries of performance"

Reviewed by Francesca Horsley

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