CBC News reported today (25 August 2009) that Alberta Theatre Project’s production Studies in Motion: The Hauntings of Eadweard Muybridge was the big winner Monday evening at the Betty Mitchell Awards in Calgary. The news report stated:
The story of a famous photographer haunted by a killing in his past won three awards, including best production, at the annual celebration of the best in Calgary theatre.
Vancouver choreographer Crystal Pite, who created the mesmerizing movements of the original Vancouver production and oversaw the choreography of the Calgary production, earned the Betty for outstanding choreography.
Another Betty went to Patrick Pennefather, a composer specializing in electronic music, who wrote the score for the play, which recalls a period when Muybridge’s experiments with photography approached the creation of film.
The current production of Studies in Motion: the Hauntings of Eadweard Muybridge has been receiving appreciative reviews – and a new trailer is now online.
Reviews at Plank magazine and on various blogs, including this one,
this one by Julie Burtinshaw and also Dance/Theatre That Flickers & Glows by Alex Waterhouse Hayward
With luck, the trailer may still be accessible.
[Back to The Compleat Muybridge]
The new production of Studies in Motion has had variable reviews, but most are enthusiastic.
For all its eye-catching, technological achievements, the remounted Studies in Motion now comes with a clearer plot and more humanity..
says Jo Ledingham, Vancouver Courier, Wednesday, April 08, 2009
Probably because the Electric Company Theatre’s artistic producer Collier and artistic director Jonathon Young have established a reputation for innovation and excellence, Studies in Motion got a second chance. Kerr has done substantial rewriting, tightening the narrative focus on the play’s central character, landscape photographer Eadweard Muybridge.
The result is a beautifully polished show.
With this production, both Collier and Kerr have increased their already substantial reputations as director and writer respectively. Collier masterfully integrates all the technical elements–and they are substantial–with Kerr’s reworked script. It’s almost as much visual art and dance as it is theatre. Kerr’s offbeat humour comes through but never dominates. Everything is held in a spellbinding balance. And while Muybridge never becomes an entirely sympathetic character, he makes a gesture of such self-sacrifice that Studies in Motion transcends the cool, scientific exploration of a man’s passion for science to the study of a man, past mid-life, making an emotional breakthrough.
Electric Company Theatre can be very proud of this production; it should be seen all across the country not just Calgary and Montreal where it’s going next. Given this second chance, Studies in Motion is ready for stages worldwide.
Read more about the play here