Courtney Rose Brown
The Gaps Between is a collaboration between creators Sebastian Morgan-Lynch and Tim Henwood. The Gaps Between packs the combination of original compositions, cello, short stories and projection into a ninety minute show presented at Circa Theatre this week.
Morgan-Lynch’s musical movements look effortless making him enchanting to watch as he sits on a small black raised platform and plays the cello. Tim Henwood’s design is beautiful and each component of his design complements each other as well as the music. There are subtleties in his lighting design that join the composition of his abstract imagery, photography of Wellington and blurs of colour. His operation is also excellent for timing with the music.
Morgan-Lynch’s musical movements look effortless making him enchanting to watch as he sits on a small black raised platform and plays the cello. Tim Henwood’s design is beautiful and each component of his design complements each other as well as the music. There are subtleties in his lighting design that join the composition of his abstract imagery, photography of Wellington and blurs of colour. His operation is also excellent for timing with the music.
Recorded narration of short stories wind their way through through the framework of The Gaps Between. The stories focus on protagonist, Colin, who Morgan-Lynch portrays in subtleties of expression: a smirk or a sideways glance as he creates the soundscape. These little touches add comedy to the short fiction, which takes surprising turns, seeming to be rooted in realism and then taking sharp turns into the surreal and supernatural. My favourite story is about Colin being able to see angels, to see all, understand all and forgive all, as he is faced with the knowledge that ‘heaven is full.’
The short stories focus on characters who are self focused. Their communication highlights the emptiness of their relationships. I would have liked to see a few more added into the show as there wasn’t a clear pattern to the stories and where they sat in the performance. In addition, all stories but one are told by men. I question the sole female voice in the show and the story she tells. Her contribution is the repetition of lines in different tones, barely audible and then her words blurring together.
The interplay between story, design and music interested me the most and due to the length of the show, I found myself craving to see movement accompany the work. I longed to be able to dance along as an audience member, especially when Morgan-Lynch performed for an extended period of time.
Each aspect of Henwood’s design supports the tone of the short stories by making us feel a disconnect between reality, whilst complimenting the music superbly. My favourite component of Henwood’s design is the photography of places in Wellington presented in a time lapse. This accompanied with Morgan-Lynch remaining stationary creates the feeling that the audience becomes suspended in time as life carries on.
Morgan-Lynch plays alongside recordings of a range of different styles of music. He deftly adapts his musical performance to these styles. Henwood experiments with different styles of imagery complementing each type of music. A composition that incorporates the sound of glass smashing and the beeping of a life machine, is truly breathtaking as it generates a real sense of danger, making me afraid for what it will bring. This moment feels as if it holds the highest stakes of the show, although what there is to lose is open to interpretation
The Gaps Between is a slow paced show, built for reflection. It showcases beauty in rhythm established through the design of the musical and AV elements. Metaphorical stories explore human connection and it leaves you with a floating feeling amidst the collision of realities. It is worth seeing, for the talent of Morgan-Lynch and Henwood alone.