On Being Water

Bridgetown Orchestra over troubled water

Multimedia production of ‘On Being Water’ doesn’t run deep

Story and photos by MATTHEW ANDREWS

The spare music starts up, scales and single notes slowly traversing the speaker array around the room. A vast drone-hum like an industrial air-conditioning unit rises up almost subliminally and suddenly shuts off, weighty in its absence, leaving silence in its wake, like the passing of a whale.

Bridgetown Orchestra Artistic Director Tylor Neist is nothing if not ambitious. Two years ago, the composer took us to outer space with his multimedia spectacle The Overview Effect. Previous years have seen scores for Lear and Kabuki Titus (both for Bag & Baggage), a string-quartet-plus-electronics piece for Fear No Music, and the formation of piano trio ThreePlay.

This year’s grand, complicated endeavor: On Being Water, an ersatz-immersive experience on aquatic themes, hosted at Hillsboro’s Vault Theater over Labor Day weekend, performed by Neist alone on a small ensemble of machines.

“You might suspect there’s not a 50-piece [Bridgetown] orchestra behind me,” Neist said with an ironic smile when introducing his show. He explained the absence of the planned, expected, promoted string quartet: “We found that using a live string quartet didn’t work so well.” So Neist recorded them separately and loaded them into his machines. “They’re in my orchestra right there,” he said, gesturing to the bank of MIDI keyboards and desktop computers. It wasn’t the production’s only technical difficulty: at some point designer Benjamin Read pulled out of the production, and Thursday’s opening night performance had to be cancelled when the sound system refused to properly send those pre-recorded string sounds through its 32 speakers.

After a few minutes it becomes evident that this music isn’t going to go anywhere: there will be no harmony, no melodies, just a swirl of vaguely tonal, vaguely minor, vaguely classical soundscapery. I jot in my notes, “terrible pun—watered down JLA.”

The Vault—formerly a bank, naturally—is a small space, a black-box theater sort of room comparable to CoHo. A central square of folding chairs; four bare walls, extending to bare rafters and ducts above; a raised stage up front, nothing on it but an inexplicable glass bowl. (Perhaps it’s for tips? Or maybe it’s for leaving your business card and winning a free lunch).

Neist had decorated the space with an array of projectors and a scattering of white surfaces for his oceanic imagery to be projected upon: big white boxes, five stacks, four high; a busy perimeter of dangling strings, festooned with blank white paper squares; white cloth drapes suspended hauntedhousely from those rafters.

Over those white planes, some kind of geissian digital video collage, rivulets of sound and images cutting across physical and acoustic planes more or less at random, generating cross-currents in the audio-visual stream. The visual themes come in a series of discrete, very long sections. In one, it’s bubbles going up and down like Tomorrowland’s submarine trompe-l’œil. In another it’s all random debris and eggy translucence, then rippling luminescence, all of a sudden dense lines falling like sleet, jagged ice on hard edges, angular folds of hanging fabric, frozen deco ridges, curvilinear light paths and gossamer pearline strings of ghostly effervescence.

The lack of boundaries between audience and stage and set, the immersive nature of the multimedia presentation, the intimacy of the little theater with its chairs and wires, bespectacled composer bent over glowing-apple-backed Macintosh—all washed together the liminal space between creator, performer, stage, and audience. In Neist’s words, On Being Water is about “bridging inner and outer worlds, old and new traditions.”

Before beginning the performance, he left us with: “Water has an unbelievable ability to carry metaphors. Find that deep place and enjoy the sounds.”

Continues…