Written by Tim Booth and Sharu Delilkan.
Heading to the Basement Studio upstairs for a show usually feels a bit innocuous - a bit cramped, raked seating up to the tech desk and not much room for the performers – but not this time. Production designer Rob Byrne for How to Art has utterly transformed the theatre – seemingly creating space from nowhere and metamorphosing the studio into a contemporary modern art gallery that would be familiar to many.
All Tse-Yu Lin’s props, which are also a pivotal part in the show, complement and enhance the set and performances beautifully. Familiar hints, clues and cues to the pretentious absurdity of modern art abound throughout the production’s design. But nothing is more absurd and satisfying than the show that unfolds. Like the intention of the work and its social commentary, the set, costumes and props demonstrate in-depth forethought resulting in brilliant minimalism.
How to Art’s premise is a tongue in cheek but clearly well informed satire asking “What is Art?” and “How do we respond to Art?” However, this deftly devised show takes this even further posing the question: “What would Art think of Art?”.
Being able to take the mickey out of Fine Arts aficionados and art lovers takes guts. Ratbags’ debut production How to Art does just that. Not only does it topple the Fine Arts realm from its lofty pedestal, but the creative way it is executed would ironically appeal to the very people that this show is dissing.
The gallery comes to life as a ‘Night at the Museum’ experience for modern art lovers neutrals and detractors alike. Mixing beautifully choreographed poignant moments, affectionate discovery, shock, awe, joy and confusion, the narrative is conveyed through a wonderful smorgasbord of clowning, mime and more that’s expressively demonstrated between our two main characters. Both of whom win over our hearts by the end of the show.
Daniel Collings’ costumes are not just adornments but astutely convey the innocence, naughtiness and ultimate decay of organic beings in a seemingly sterile gallery world.
Inanimate art is brought to life through Katie Burson’s and Georgie Llewellyn’s highly animated performances. From an embryonic recognition of existence through a plethora of emotions and learnings, they are seemingly childlike but with a regular counterpoint of pathos, grief, play, mayhem and confusion. It’s an absolute pleasure to watch skilled performers take such delight in making us laugh, squirm, empathise and on some occasions undertake ridiculous and gently humiliating tasks in an almost pub- like Karaoke setting. Their synchronicity is both acrobatically and ‘aero-batically’ perfect.
Brownwyn Ensor, as the archetypal gallery attendant cuts a ‘Cruella de Vil’ character we all love to hate, and is suitably austere and cold. Her representation of strict efficiency and vapid commercialism of art makes a fantastic contrast to the new found emotions of our new born live art pieces. And she compounds the hilarity on stage through her uncanny ability to subtly yet brilliantly incorporate the audience’s reactions. No show will ever be the same, hence the fact that people have been rebooking to see the next version and spend another evening of laughter in the company of these crazed clever characters.
How to Art is the type of fun show that many of us really need right now. At its core, the show is bonkers in a weirdly fascinating and exceedingly entertaining way. It’s clearly a very self-indulgent devised piece of fun for the all the creatives and all the better for it.
While the audience was in stitches throughout the show, we both agree that the subliminal messaging that this slick piece of theatre has planted in our psyches will continue to haunt us for a long, long time to come.
This show takes ridiculosity to the extreme. So climb those narrow stairs to the Basement Studio, lose yourself and just laugh at the fantastic, fun, fabulousness and truly learn How to Art.
