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'Our aim was to build a mysterious sculpture that intrigued
the general public as to what the final object would be. We wanted
each of the three pieces it's made of to appear as interesting sculptures
before the audience was aware of what we were building. The set
was designed by Circus Oz builder and inventor Alan Robertson who
once had a pet three-legged dog on which on set is based. I designed
the costumes and constructed them out of inner tyre tubes to complement
the industrial feel of the metal dog around which the performance
takes place.'
Said performer Franca Stadler
'The costumes and style of the work allow it shift timeframes
and countries. As a result I have included tangos as well as a driving
modern - almost filmic use of the accordion. The show has a dark
humour and stylized theatricality which the accordion complements
and expands.'
Said composer/performer Kim Baston.
'We created the show for family audiences at outdoor
festivals and events. We were very clear that we wanted a performance
that included a high level of acrobatics as well as a lot of laughs.
We have a fight scene that is performed in slow motion and kids
often begin to yell encouragement from the sidelines. We have a
very clear style-, which is much bigger than everyday life, and
it allows us to be very Wicked and Mean while letting audiences
in on the joke.'
Said performer Donna Jackson
'As the work is designed for out doors, which is a very
unfocused environment, I decided to cut any moments, which were
not beautiful, funny or using one of their many skills. I'd describe
the style as the Bauhaus/dance of three incompatible characters.
Although children love the show I think adults can appreciate it
at another level - most of us have had to work together to build
things we are not sure of! The length of the show at 25 minutes
enables crowds to gather around the set with out the need of seating.'
Said Director Susie Dee
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