Alia Marshall
My Puppet Who Sighs in Pearl Shavings is a multidisciplinary trans allegory brought to us by Landfish Productions, a collective of new and emerging practitioners in Pōneke. This intimate solo work, written and performed by Raven Harvey-Lomas, promises to take us on a journey of the self: “one of its origin, and one of its end.”
Diaphanous lengths of frost cloth surround the performer as we enter the space, wrapped around her body as she sits on a chaise longue covered in white cloth. She appears serene, as if she is in her own world, but there is something unsettling about this stage picture that I cannot put my finger on. Perhaps it's her weary regard of us as we enter, or the eerily ethereal sound filling up the space. Either way, I love it.
When the lights dim I am immediately drawn in by the audio visual experience. An original electronic score, designed by Scarlett Peckham, beats at the heart of this project, reminding me of artists like SOPHIE, Ethel Cain, Weyes Blood (I could go on). What follows is a traversal of the mind, a creation story, and a collection of thoughts from a relatively anxious mind, one that reminds me of my own. The story is narrated directly to us, going in and out of myth and reality in a way that mirrors the way your brain moves from one thought to another: sometimes fast, sometimes slow, sometimes all at once.
Lighting design (Gabriella Eaton) helps to tell the story, and Eaton has a way of lighting this space that makes it feel like someone’s bedroom and the heavens at the same time. Those doing lighting design have their work cut out for them when it comes to solo work, and Eaton exceeds expectations. The set, designed by Anne Amber - who also designed the costume which is gorgeous - frames the performance beautifully, transforming the studio into an otherworldly space. Harvey-Lomas interacts with the frost cloth hung throughout the space in such clever and effective ways, communicating so much by manipulating this delicate fabric. So much of the design reminds me of art I adore, it feels like it’s made just for me.
However, there were also moments where I found myself wanting more in terms of the performance, and I think this piece would really achieve the emotional payoff it deserves had there been a director helping to massage the structure. The format of the performer speaking directly to us in a stream of consciousness works well, and I know that that’s the point of this piece, but I found myself craving more intentionality in the delivery at times. I think that some variety in the pacing/blocking/delivery would make this pearl of a project really shine.
All of that being said, Harvey-Lomas is a beautiful performer, one who can convey a lot by doing very little, and I feel so lucky to see someone give so much of themselves onstage. While I cannot speak to some of the themes present in the show as someone who is cisgender, I found so much to connect with, and her words still linger in my mind long after the performance.
My Puppet Who Sighs in Pearl Shavings is on in the Studio at BATS until Saturday 12th July.
When the lights dim I am immediately drawn in by the audio visual experience. An original electronic score, designed by Scarlett Peckham, beats at the heart of this project, reminding me of artists like SOPHIE, Ethel Cain, Weyes Blood (I could go on). What follows is a traversal of the mind, a creation story, and a collection of thoughts from a relatively anxious mind, one that reminds me of my own. The story is narrated directly to us, going in and out of myth and reality in a way that mirrors the way your brain moves from one thought to another: sometimes fast, sometimes slow, sometimes all at once.
Lighting design (Gabriella Eaton) helps to tell the story, and Eaton has a way of lighting this space that makes it feel like someone’s bedroom and the heavens at the same time. Those doing lighting design have their work cut out for them when it comes to solo work, and Eaton exceeds expectations. The set, designed by Anne Amber - who also designed the costume which is gorgeous - frames the performance beautifully, transforming the studio into an otherworldly space. Harvey-Lomas interacts with the frost cloth hung throughout the space in such clever and effective ways, communicating so much by manipulating this delicate fabric. So much of the design reminds me of art I adore, it feels like it’s made just for me.
However, there were also moments where I found myself wanting more in terms of the performance, and I think this piece would really achieve the emotional payoff it deserves had there been a director helping to massage the structure. The format of the performer speaking directly to us in a stream of consciousness works well, and I know that that’s the point of this piece, but I found myself craving more intentionality in the delivery at times. I think that some variety in the pacing/blocking/delivery would make this pearl of a project really shine.
All of that being said, Harvey-Lomas is a beautiful performer, one who can convey a lot by doing very little, and I feel so lucky to see someone give so much of themselves onstage. While I cannot speak to some of the themes present in the show as someone who is cisgender, I found so much to connect with, and her words still linger in my mind long after the performance.
My Puppet Who Sighs in Pearl Shavings is on in the Studio at BATS until Saturday 12th July.