The Black Rider: The Casting of the Magic Bullets
By Tom Waits, Robert Wilson & William S. Burroughs
Directed by Ron Jenkins
Runs October 15 – November 16 @ Tarragon Theatre
By Daina Valiulis
A patchwork of creative expression, The Black Rider is a twisted narrative based on a German folk tale in which a man sells his soul to the devil for magic bullets that never miss their mark in order to be worthy to marry the hunter’s daughter. Re-imagined by Robert Wilson, Tom Waits, and William S. Burroughs, the story takes the form of a cabaret/circus freak show/dance piece/clown act/study in mime. This particular production is further interpreted (to the approval of both Wilson and Waits) by November Theatre — U of Alberta theatre graduate Michael Scholar Jr. and a very talented cast who have been performing it for the past ten years, beginning at the Edmonton International Fringe Festival, moving on to the New York Fringe Festival, continuing to locations all around Canada, and picking up numerous awards and playing to sold-out houses along the way.
It’s a difficult show to criticize. It doesn’t follow the story in the traditional sense (in terms of plot developments leading one after another to a conclusion), favouring instead the style of Robert Wilson — who, notes the program, often “eschews dialogue in favour of his own unique visual vocabulary.” This dialect includes a signature use of light, experimentation with structure, and exploration of simple movement. “His plays demand only that we behold in order to understand.” As a result, the production often veers from the story to present a movement sequence, song or a monologue that deals with the same themes, but not necessarily the story that is being told. Although interesting, at times it felt self-indulgent and unnecessary.
However, that being said, the performers were impressive. Rachael Johnston was inspiring: she made very concrete and imaginative choices and wasn’t afraid to appear grotesque as she twisted her body and face. Mackenzie Gray, who played Old Uncle/Robert/The Duke/Georg Schmid, opened the show as a circus ringmaster and, throughout the production, changed his voice to suit the character he was playing. Gray had a gravity and a weight on stage that I admired. Also amazing: Michael Scholar Jr. as Peg Leg/Kuno, the catalyst who captures the evil creepiness of Mephistopheles coupled with the zany sexuality, smugness, and delight in his naughty deeds reminiscent of the MC from Cabaret.
You could argue that the singing was off-key and unpolished; however, the vocal performance worked with the travelling circus, freak-show flavour of the show. There was something appealing about its street-theatre messiness, and the music’s fairy-tale lyrics and simple melodies.
The staging was brilliant, with a minimal set and supportive lighting design — a palette of stark white, eerie blue, and blood red, with triangular spotlights illuminating characters or whole areas of the stage.
The end was not entirely satisfying, since “end” moments kept happening, but they’d be killed by a song or movement or something silly. But it stayed true to the German expressionist form, and it worked out, just like the singing. If nothing else, you’re got to admire the sheer energy and detailed, precise work of the performers.
