ICP

Devising ‘Very Poorly Indeed’

Other than that, Mr. Donner, how'd you like the Party? Using devising techniques, a group from PETE creates a fresh take on a ghoulish tale.

It begins, as these things often do, at the nexus between worlds, the juncture, the crossroads of realities, with the audience and the performing area both in light and both in darkness. On the stage, just on the other side of a translucent membrane, a pagan entity (Myriel Meissner) approaches. Something stirs inside the audience, something akin to communal memory or a dream we all share that never quite fades away.

The entity steps through the veil and we see it has the body of a young woman and the head of a deer. It — she — is silent as she walks across the stage in a manner both strange and familiar, and we feel both welcomed and wary as this entity, this being, exists between reality and illusion, life and death, good and evil, God and human. Before long we will encounter snow and ice, want and fear, ghosts and madness, a Trickster/narrator, and a tree adorned with human flesh, like something out of a Cormac McCarthy novel. It’s visceral stuff, viscerally performed by Portland Experimental Theatre Ensemble’s training program, the Institute for Contemporary Performance.

As through a scrim, darkly: “Very Poorly Indeed.” Photo: Jeremy Jeziorski

The piece, Very Poorly Indeed, is being presented at CoHo Theater this weekend by PETE and is the culmination of a year of hard work, training and exploration by ICP students Clifton Holznagel, Jonathan Lee, Meissner, Rose Proctor, and Myia Johnson. This is the third year the Institute has been in operation, and the students vary from those new to the stage to those with a wealth of experience. They’ve spent the past school year immersing themselves in a variety of disciplines, including Suzuki and Viewpoints (taught by Amber Whitehall and Jacob Coleman), Alexander Technique (taught by Cristi Miles), and Clown (taught by Philip Cuomo).

It isn’t easy.

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