Melbourne is home to a host of unique gigs in unconventional gig spaces, but there was something about The Alexander Technique, that on paper at least, would be pretty special.
Described as “a new and unique approach to the presenting of arts and entertainment” this event would combine fine food, drink, dance, art and music over five “epic” hours in the “subterranean labyrinth” of Monash University’s Alexander Theatre.
We were promised elegant fuzz rock cameos, dance and audio-visual experimentations and the like. Given the night was a collaborative effort between Duckpond (Faux Mo producer at Mona Foma and Dark Mofo) and the Monash Academy of Performing Arts you could be forgiven for thinking a night of quality entertainment was assured.
And while none of the performances from Saskwatch, Animaux, Pretty City and Atlanta Eke were particularly bad The Alexander Technique as an idea worked far better in theory than it did reality.
Much of the blame can be attributed to the venue. The Alexander Theatre is less a labyrinth than it’s your sub-standard music hall with the basement and reception utilised. An effective use of space, but it’s hardly inspiring or unique.
Perhaps though, if the event had of attracted more than 40 or 50 people (if that), the Alexander Theatre would have been less barren. At times it felt as if there were more security, bar staff and volunteers (far too many even if the event had of sold more than half its capacity) in attendance than actual punters.
The atmosphere wasn’t as much stunted, as it was non-existent. Having an event like this on Monash’s Clayton campus was always going to be a risk, but it’s one that spoiled what otherwise could have been a spectacular night.
Shifting it to a space that was actually intimate as promised, delivering on the fine food and drinks, as well as adding a few more performers with just a dash of epic included and you’d be halfway there to something great.
Atlanta Eke and collaborator Daniel Jenatsch kicked things off in the basement with a ritualistic piece of performance art that concluded in a clay mud covered women swinging from the ceiling covered flowers, while her partner activated a piano – hanging mid air from the roof no less – by literally pulling strings.
While the same space would later be utilised by three-piece Pretty City and their electrifying rock set the few people in attendance huddled towards the back while an artistic projection coloured one side of the room.
Simultaneously in the foyer a three-piece jazz outfit played to a bemused if not slightly disinterested audience.
The actual theatre was no more comfortable either. The seating ensured the audience felt detached with punters littered between empty seats.
Both Animaux and Saskwatch did their best in an uncompromising space. The former, an up and coming jazz-infused funk seven-piece were nonetheless entertaining as they proved their ‘one to watch’ tag. Just as Saskwatch demonstrated their experience with a seasoned performance bolstered by their latest LP, Nose Dive.
It’s a shame that more weren’t there to see these performances at the poorly promoted Alexander Technique, it’s ideas and events like this that allow Melbourne’s music scene to remain interesting.
A few adjustments and just maybe the event could have become a regular attraction to look forward too. Hopefully they can work out the kinks for next year.
Check out the full gallery from the event here.
