Recently landed: Soliloquy, Gracia's written response to Genevieve Lacey’s recent performance of Georg Telemann’s Twelve Fantasias for Solo Flute, directed by Gideon Obarzanek and Stephanie Lake, with 38 volunteers, for Fjord Review
Soliloquy is a revelation of the intimate, shared. In the embrace of lights lowered to a fireside glow, from their seats in the theatre, the volunteers rise and softly thread their way onto to the stage to join Lacey as she plays. Summoned by Lake’s cue, and also by a call in the music, and perhaps a call within to respond, here is a rare gift! Together, a new autonomous structure grows through repeated motifs. Lake makes a sundial of her hands, and the participants follow suit. Fingers echo rainfall, puff an organ’s bellows, hug a cloud. Whether all moving as one mass (seated on the stage) or in their own interpretive swim (dancing around Lacey), truth is offered, felt, and, it feels, collectively accepted. Within such a gift, the self dissolves. Dive in!
In the lead-up to Soliloquy, a call for volunteers with “no music or dance experience necessary” was answered by 38 people, including my partner, Louise Jennison, who leapt at the opportunity to become a flowing quaver motion. Just as Lacey’s connection to Telemann’s Twelve Fantasias for Solo Flute is wound up in the personal, for Jennison, accepting the open invitation was also of a personal nature: a chance to prove to herself that her body can continue to deal with the limitations placed upon it by post-surgical chronic pain and emerge triumphant. Facing our fears and vulnerability takes courage, and here was the opportunity to open oneself up to new rhythms.
Here, too, was the opportunity to view things from a different perspective: moving from a seat in the theatre to participating on the stage; from far to near, so close you could hear the sound of Lacey’s fingers upon her recorder as she played; from inward to outward, allowing oneself to be a part of a framework bigger than the self. And like all gifts shared, this was for us all. For those in the audience, like me, moved to tears of joy and release. Whether you are transmitting joy through a “noodling” of arms twirling in characterful rhythm or seated in the audience, joy permeating your every fibre, when the opportunity to nestle within birdsong chimes, accept.