Having an Appetite
This isn't a review. I'm not a reviewer, and even if I was, you could not read this and go see the show, because it happened for one night only. If you were not part of the 30 or so people who saw Appetite by Skewed Visions tonight, let's face it, you missed out.
The night started with a back alley entrance, a warm garden in spring blow, a cat called Potato wandering through like an especially furry host. A motley set of chairs, a table of wine and snacks. But that's not the appetite they meant.
Then, two different kinds of audio feedback. Ted Moore with a hyper-sensitive microphone with feedback that reacted to the smallest vibrations in the room, seeming improvised but actually highly scored. Kyle, who swallowed the notes from his saxophone, rather than playing them. At some points, I swear there was actual color coming out.
Then Charles Campbell, looking as he started the night like he was setting up a Spaulding Gray monologue in an oreo suit. Who then manipulated sound and light and projection and words to take you an incredible journey, half reminiscent of your youth and half a vision of an (apocalyptic?) future.
It was all about feedback, sending me into a kind of meditative state, but as I sit in the living room and write now small neurons of my mind light up like sparklers. Like most SV pieces, this will stay with me for a long time.
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Started the night with craft cocktails by at Cafe Alma, served by Adam, the best bartender in the Twin Cities. Incredible food, and espresso with just a hint of rum to put us in the perfect meditative state for the show.
Tried to end the evening with a drink at Young Joni, but I, alas, was ID-less so they would not let me in. So home too early and still thinking about the piece, which is not necessarily a bad place to be. I wish you had seen it so we could talk about it together.
The night started with a back alley entrance, a warm garden in spring blow, a cat called Potato wandering through like an especially furry host. A motley set of chairs, a table of wine and snacks. But that's not the appetite they meant.
Then, two different kinds of audio feedback. Ted Moore with a hyper-sensitive microphone with feedback that reacted to the smallest vibrations in the room, seeming improvised but actually highly scored. Kyle, who swallowed the notes from his saxophone, rather than playing them. At some points, I swear there was actual color coming out.
Then Charles Campbell, looking as he started the night like he was setting up a Spaulding Gray monologue in an oreo suit. Who then manipulated sound and light and projection and words to take you an incredible journey, half reminiscent of your youth and half a vision of an (apocalyptic?) future.
It was all about feedback, sending me into a kind of meditative state, but as I sit in the living room and write now small neurons of my mind light up like sparklers. Like most SV pieces, this will stay with me for a long time.
---
Started the night with craft cocktails by at Cafe Alma, served by Adam, the best bartender in the Twin Cities. Incredible food, and espresso with just a hint of rum to put us in the perfect meditative state for the show.
Tried to end the evening with a drink at Young Joni, but I, alas, was ID-less so they would not let me in. So home too early and still thinking about the piece, which is not necessarily a bad place to be. I wish you had seen it so we could talk about it together.
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