‘All Work And No Play’
Two durational, parallel and at first apparently solitary processes unfold in this performance; Weeks welcomes audience members into a screened booth where she then offers them chocolates and wine, puts them at ease and strips and dances for them on a pole and couch (if they choose), amidst the heady scent of tiger lily’s in exchange for vouchers, which the audience have purchased for a donation at the door. These charged intimate artful exchanges unfold as shadow play behind a white curtain whilst in the main space Whitford dimly spot lit at the center of the room is stuck in a cycle of actions of introversion and stagnation, immediate gratification and guilt, eating fortune cookies, crisps and chewing on rib & chicken bones whilst doing press ups to a point of total exhaustion, watching static on an old TV, drinking wine, vomiting, and digging in the soil of the past unearthing old toys and memories which he ‘plays with’ until they
are totally destroyed.
These narratives of isolation, desire, melancholy, compulsion and desperation set against hope, faith, determination and persistence converge in their combined exit action, their bid for freedom. Having accrued enough paper vouchers from the audience, to make a fleet of origami boats, and buoyed up by a shared vision of a better future and the things which feed a soul, poetry, philosophy, beauty and love they break with the past and transition together with difficulty towards a new life. Walking towards the door naked covered in the traces of their actions, with books balanced between their heads they stumble and repeatedly drop their precious cargo, only to pick up and start again until they achieve their exit.