The Gaps Between
Direction: Sebastian Morgan-Lynch
Circa Theatre; Circa Two (October 11 – 15)
An ambitious set of soundscapes married to time-lapse photography and narrated short stories; that’s the premise and execution of The Gaps Between. Sebastian Morgan-Lynch is on stage with cello. The composer/performer is armed also with an impressive range of nods, winks and gestures which work in support of the words. The stories are amusing and as Morgan-Lynch makes the live score and plays “The Gaps Between” we have the words resonating long after, we think of the stories’ conclusions as we’re caught in space, suspended by the dance of the cello as it flits through musical genres, sometimes playing unaccompanied and other times in support of backing tracks that feature dance/electronica rhythms or languid lopes of guitar-looping.
The “Octopus” story manages, somehow to straddle the worlds of Kafka and Owen Marshall and is therefore a highlight.
There are one or two odd choices, art-direction-wise, a story about Christchurch is back-dropped by time-lapse sequences from Wellington.
But maybe that’s just nit-picking.
Perhaps realism is supposed to blend with surrealism. At any rate the main focus is Morgan-Lynch and he is quite incredible given he’s writer/director, actor/musician all in one and all at once – he is our focal point.
That said the show was possibly one story too long – at around 80 minutes it’s a big ask. Particularly with no movement outside of the backdrop. A tightening, down to 60 minutes would make this amazing. As it was the power of soundtrack and soundscape – and the abilities of music to let words linger, to add meaning or at least energy – was never less than impressive.
