More images

Hm. Well that last series of images was pretty cheesy so here are some more to broaden the palate. Edward Gorey, random furniture, and a picture from Radiohead's tour.

Design thoughts

Drew, thanks for the images.

I've been thinking more about the Killborn area. Still digging the mirror frame/table idea. Something about the stuff around the table -- the nailed together boards -- seems a little bit too 'farm' and 'can do' to me, if that makes any sense. I think we need to make it a bit more southern gothic, more rotting decadence and trashed out glamour. I was looking for images of wrought iron gates, we don't want to use iron but -- there's something about that combination of delicacy and brutality that fits. If that makes sense.

Here are some photos, mostly of Alice Cooper, to help explain:

A brief update on the scenic design...

During our meeting last week I presented Jonathan and Faith with some new images and ideas for the set. After discussion of functionality and purpose, we settled on a general design maxim of "everything serves a function but not in the traditional way." To that end we came up with the new Killborn station, an addition to the mic-moire, and a downstage platform/playing space.

The Killborn station has transformed from a domestic table setting to an assemblage of rotting, decrepit objects juxtaposed with a gorgeous mirrored surface. The mirror-table functions as a sound box for Faith to strike with a mallet, replacing the current metal inset table (and the oil drum before that). With the tin can lights mounted to the backside framing of the mirror table, the whole object should shake and rattle and create some really neat free animating lighting effects.

Faith requested an object that can drop rose petals. The mic-moire will be getting an addition of the petal drop box. Simple, effective, kinda grungy with little accents of lushness like copper brackets and velvet lining.

The downstage playing area has turned into a found wood platform with lights built into the frame, a mini platform for the sound pedal, and potentially some old school style footlights for backlighting or more silhouette work.

Questions, comments, concerns?

~Drew

Where does this show take place?

We've had some talks about 'where' this show takes place, and clarifying the look and mood. I thought I should post some of those thoughts here.

First, the space where it takes place is pragmatic -- it is the site of a music concert/performance, and everything onstage has first a practical use, to support the performance -- microphones, a cabinet holding sunglasses, makeup and scarves, lights hanging from a table. But everything onstage also reflects the psychic tensions going on in Undine herself. There are two modes that Undine shifts between:

- High/sweet/innocent (the micmoire/enchanted girl area): indie pop & girl group R&B, rose petals and tulle, wide eyes & a wide smile.

- Low/dark/choking fury (the killborn area): heavy metal and blues and Janis Joplin, thick black liquid and black boots, a snarl in the voice, soot in the air, hooded eyes and bitterness.

At some point these two distinct modes become mingled & confused, so a stark song about killing your sister is sung at the micmoire station, in a dripping red slip. Or a sweet song about a vision of death is sung at the Killborn station in a white flowing dress.

Another way to think about it is this: in the months before Elliot Smith died, he performed alone onstage many times with just a guitar, singing songs with lines like "give me one reason not to do it" to his fans. I don't know what that 'space' that he was inhabiting is, but that is the space I imagine Undine is in. Physically and psychically.

Anyway, maybe that clarifies, maybe not.

Design Update

Bobby and I met last week to talk about the set and costumes. At the production meeting back in December, the idea of a large backdrop turned costume was bandied about.

One element we thought was missing from previous Undine performances was water. The graceful eb and flow of the tides juxtaposed with raging torrents violently dashed upon the rocks. Something epic, something classically romantic and a bit Wagnerian. So, to that end, we pushed forward with the idea of creating a living garment out of the backdrop.

The set would remain largely unchanged save for the backdrop. Generally, the backdrop would function as it had in previous Undine performances. Instead of heavy wool and cotton, china silk would be used to create a light, weightless, flowing object. Construction from such a light weight and reflective material would allow for better lighting and even some back-lighting/silhouette work. The primary function, however, would be a massive dressform that Faith would step into at some point during the performance, creating an image of Undine emerging from the ocean spume or sinking back into the watery depths.

Comments or suggestions?

~Drew

Speeches/Monologues

Are you thinking about longer periods of banter with audience, or storytelling/rambling and perhaps a weirder (use of voice effects and pre-recorded vocals) section that advances one of the scenes/stories, but isn't sung... is spoken.

If yes, tell us more.

You don't own me / Portishead

Peter and I were working on one of the new songs yesterday, "You Don't Own Me." I thought I'd post a bit about the how that song has progressed.

I first thought of this song as a sort of Rage Against the Machine-like chant coming out of Uncle Killborn, taking that song's simple mantra (I am Uncle Killborn, I am Uncle Killborn... and if I forgot to mention, I am Uncle Killborn) and pushing it further, using one line over and over: you don't own me.

Then I was out for karaoke one night and heard a woman do a version of "You Don't Own Me" by Lesley Gore. I had forgotten this song existed and suddenly it seemed to perfectly fit with the sentiment I wanted to express there, but within the structure of a totally different song. And something about the way this woman sang it, high and warbly and kind of pitiful, made it more appealing. I wondered if the angry scream I envisioned could morph into these tight girl group harmonies, careening between toughness and vulnerability?

So I worked out a version (it's still not screamy enough to start with) using the new pedal. Then working with Peter yesterday he realized that the chord progression we were using was the same as a Portishead song. He brought it up on his computer and I couldn't believe it, it meshed so well.

Here's the song, Glory Box: http://www.youtube.com/watch?v=0WcPJP0XPdA&feature=related

And here's another Portishead song. I feel like their vibe really gels with Undine: http://www.youtube.com/watch?v=Vg1jyL3cr60

Dude, when do we get to do Undine backed by a symphonic orchestra???

You can listen to Lesley Gore sing You Don't Own Me on the links to the right.

UPDATE: here is another version of Glory Box, from a 1994 show: http://www.youtube.com/watch?v=5AbhYEg-srU&feature=related. I love the look of this performance, with the lights and the way the band is arranged.