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Thursday, September 23, 2010

TBA TBA: The Aftermath

Posted by Alison Hallett on Thu, Sep 23, 2010 at 12:01 PM

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  • MINH TRAN

Okay, my physical and intellectual TBA hangover has finally subsided, and after a few days to reflect (and a serious no-art-allowed TV binge) I'm finding myself a little underwhelmed by this year's TBA offerings. My assessment? Overlap with MusicFest Northwest, early onset SAD, and a lineup that ultimately offered only a few must-sees all conspired to strip TBA:10 of some of the momentum I've come to expect from the festival. In years past, friends have badgered me for TBA recommendations; this year, responses were more along the lines of "Oh, that's happening?"

One thing I'm missing, I think, is the citywide programming that former artistic director Mark Russell emphasized—Khris Soden's Portland Tour of Tilburg; the Halprin project, which brought Anna Halprin's modern choreography to Portland fountains designed by her husband, Lawrence Halprin; that ill-fated scavenger hunt; big opening night spectacles involving Portland's public spaces. Sure, they were occasionally underwhelming and/or ridiculous, but at their best they lent the festival a sense of adventure and excitement. This year the focus felt narrower, as though the festival was speaking more to PICA members than the rest of the community—a contrast highlighted on closing night, when those of us who didn't drop $35-45 for dinner found ourselves waiting impatiently for that meal to conclude, so the festival's final performance could begin. (And after all that, this happened.)

This is not to say the festival didn't have highlights: the Wooster Group's interactive movie; Emily Johnson's sincere, personal dance piece; Mike Daisey's The Agony and Ecstasy of Steve Jobs; the parts of John Jasperse's Truth, Revised History, and Flat Out Lies that I actually understood. But to a large extent I felt like I was having these positive experiences in a vacuum, due to the lack of general conversation around the festival. It's a recession thing, I guess; tickets are spendy, local arts coverage is down. All I know is we've got a pretty solid TBA blog this year and it's got about 10 total comments on it. There was no Claude Wampler confusing the shit out of everyone; no DK Row starting fights about accessibility. Portland Monthly had some great coverage, courtesy of Anne Adams (my comma nemesis!) and an imported blogger from the New York Times, but they fared little better than we did on the comments on front; ditto the WWeek. I still can't navigate the O's website so I have no idea what's going on over there, but the #TBA10 hashtag on Twitter seemed more often used for promotion than for conversation (we were guilty of that, too), and the beer garden at the Works was more often than not half empty. Plus, the Holocene food cart ran out of tacos RIGHT BEFORE I tried to order one. I'm complaining less about the work than about the atmosphere surrounding the work—I have no real beef with Cathy Edwards' programming, but I wanted more excitement, more fights, more action. Instead I got, "Yeah, the Polish play was pretty good."

It does sound to me like our visual arts critic Matt Stangel made more of TBA's visual art offerings this year than last—and those shows, BTW, are on view at Washington High through October 17—Thurs-Fri noon-6:30, Sat-Sun noon-4 pm.

I dunno. It's possible too that all of this is in my head; that I had a down year thanks to picking up a midfestival cold, and of course that whole taco situation. If anyone has any thoughts, post 'em in the comments, though it seems like wishful thinking to ask that now people start talking about the festival.

 

Comments (11) RSS

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1
@ Alison: While I didn't hear a solitary soul say a single word about TBA outside of the Mercury this year, that's no different than any other year. My only exposure was to the sold-out-every-night Mike Daisey show, which I wouldn't have known about or considered attending without your posts on the subject.

I'd say you're right on with the assessment, judging by the tone of all of the reviews. Sounds like there were a few flashes of great surrounded by 75% meh.

Finally, just because something doesn't receive a ton of comments doesn't mean it isn't worthwhile.
Posted by Commenty Colin on September 23, 2010 at 12:50 PM · Report
2
"Finally, just because something doesn't receive a ton of comments doesn't mean it isn't worthwhile."
W3RD!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Posted by Abusive on September 23, 2010 at 2:24 PM · Report
3
Dammit Abusive, you're ruining my sarcastic in-joke.
Posted by Commenty Colin on September 23, 2010 at 2:31 PM · Report
4
I was fortunate and saw many of the performances for free. For the most part excellent shows--Dayna Hanson's production was the only one I felt didn't deserve to be there.

On the other hand nothing felt very challenging. The Poles were loud, the Beckett was long, Maria Hassabi was obscure; all resolved into pleasant beautiful well-made performances disconnected from the world outside. Masques at Versailles. Emily Johnson's touching meditation on home--what about the homeless? Daisey's activism, "Don't buy thousand-dollar toys without thinking about the people who make them." Who cares?

Finally, a journalist crying for scandal is like a prostitute complaining no one's horny. Maybe you should spend less time in the beer garden if you're not finding stories there.
Posted by sexmachinealpha on September 23, 2010 at 2:33 PM · Report
5
This was my first year where I didn't pull a CC and go to the one vaguely accessible show on the roster. It was interesting, but as you said, not particularly illuminating. I felt like the fest kept oscillating between slapstick and inscrutability, and while I sure don't mind watching fetching actors naval gaze a bit, there wasn't much takeaway. The one show with a strongly articulated message (Daisey's) was the only one I got into an argument about, and I hadn't even seen it.

If they want blood in the streets next year (IE the feisty community of semi-cultured hate-fucking you describe) they're going to have to pick some shows that people connect with better.

@CC Comment volume is the only measure of a man. There, I said it.
Posted by atomic on September 23, 2010 at 2:36 PM · Report
6
@ atomic: that makes me one of the largest men on Biebertown, I reckon.
Posted by Commenty Colin on September 23, 2010 at 2:44 PM · Report
7
Oh, I didn't intend to imply that a post's worth is defined by how many comments it gets. I, uh, do not believe that to be the case. Just that in the past, people have been more eager to discuss and debate the merits of various shows, online and off, and that discussion is one measure of audience engagement.
Posted by Alison Hallett on September 23, 2010 at 2:57 PM · Report
8
@sexmachinealpha: Maybe your anti-beer garden stance is what's leading you to all those grumpy prostitutes.
Posted by atomic on September 23, 2010 at 3:05 PM · Report
9
@atomic: How are you so bad at processing my insulting simile? Did your parents not read to you as a child? Have you not kept current with great literature like Don Delilo? I love beergardens! I love empowered sexy women who exchange pleasure for commodities while retaining their humanity and sense of self!

What I hate is journalists who complain that no one is reacting to their articles. "Why does no one care about this important news?" Fool! Run the dishwasher if you don't like looking at empty cupboards.

That's a metaphor! Is that one too complicated for you too?
Posted by sexmachinealpha on September 23, 2010 at 4:03 PM · Report
10
@ sexmachinealpha: Atomic's parents must have given him SIMI-LACK, amiriteofcourseimrite
Posted by Commenty Colin on September 23, 2010 at 4:08 PM · Report
11
http://en.wikipedia.org/wiki/The_lady_doth….
Posted by atomic on September 23, 2010 at 4:46 PM · Report

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