Fringe Day 10, Part 4 - August 15, 2004, 7:00pm

Pipes
Skewed Visions
Intermedia Arts

Oh how I wish I'd gone to see this when I'd originally planned to, for then I could be seeing it again, now, on closing night, as some of my other Fringe friends were so wisely doing.

Skewed Visions uses Intermedia Arts - all of it - in ways which were as amazing as they were entertaining. No corner or crevice of the space went wanting for attention. Whether it be crawling around up in the rafters high above the stage, or skulking around under the risers beneath the audience, that same audience was constantly craning its collective neck - twisting and turning around or leaning back in their seats to try and catch a glimpse of just where in the world the whole performance was headed next. The standard definitions of audience and performance space were not just blurred, they were practically obliterated.

But before all this interactivity, before the powertools sparking in the darkness against metal doors, before the journey outside, before the lilting song, before the loading dock door flew open and the performer leapt back into the space along with a shaft of bright sunlight from outdoors - before any and all of the above, there was first darkness and silence.

The audience is left to sit in darkness for an uncomfortable (but quite deliberate) length of time. There is music, which eventually careens out of control. Then there is breathing, and finally there is speech.

Charles Campbell is a marvel as the solo performer in this show. Though he is doubtless supported by countless others hidden around us in the darkness, his is the only face and form we see. Even another singing and speaking voice toward the end of the play remains completely disembodied (until the curtain call). Charles holds our attention whether he is far off, sitting against the back wall of the stage on a chair high in the air, or under our seats, over our heads, or even completely out of sight as he continues to speak while he walks around outside of the building altogether. A tremendous amount of technical work goes into something like this. The beauty of it is that the kind of work Skewed Visions does, you never "see the strings" unless they want you to.

This compelling, claustrophobic, subliminally political showpiece is perfect Fringe fare. I'd gladly see it again, if only I had the chance (this was, after all, the next to last performance slot of the night on the last night of the Festival).

This fall, Skewed Visions is remounting its previous Fringe hit, "The Car," as part of its triptych entitled "The City Itself." Part 1, "The Car," runs September 8th through October 10th. 7pm each night, meet up at the Acadia Cafe, and you will be escorted into the back seat of the first of three cars, with the performance taking place in the front seat as they drive you around Minneapolis ($19). Part 2 is FREE - "Side Walk" - Noon to 5pm - September 8th through November 14th - Go to the front desk at Intermedia Arts and you can "check out" the show. Part 3 - "The House" takes place at a Minneapolis home, October 20th through November 14th starting at 8pm ($19). Performance times, dates and locations vary. For information and reservations, go to www.skewedvisions.org or call 612-823-4990. They say it can be experienced in any order, but for the full effect, see all three. Having just experienced yet another of their singular achievements at the Fringe, I have no doubt this triptych will be worth the journey.

(For more of my writing - plays, past blog entries and more - visit www.matthewaeverett.com)