by Mary Couzens

A review by Mary Couzens for EXTRA! EXTRA!

Part of the beauty of this show is due to the ephemeral nature of its material – namely, soap bubbles. But the hand and breath crafted, often smoke or mist filled bubbles of former architect Pep Bou are not ordinary ones, but, rather, sublimely beautiful, made all the more elusive by the manipulation and shimmering effects granted them by their Catalonian creator. Pianist Maso skilfully accompanies Bou’s meditative actions, enhancing their dream-like qualities with wonderfully emotive interpretations of pieces by French and Catalan composers, perfect for letting one’s mind drift along with the bubbles.

This carefully orchestrated, lovingly constructed performance is always, subject to the whims of the atmosphere surrounding its bubbles as we were made aware during our slow entrance into the Queen Elizabeth Hall.  Apparently, the slightest change, which may have been caused by leaving more than one door open for the convenience of the incoming crowd, might have proved disastrous to the ‘delicate bubbles.’ This knowledge only served to enhance the sense of anticipation amongst those entering the hall, as evidenced by the audible levels of excitement following this bit of insider information. The show was late in beginning due to the climatic entrance of the audience, causing them to start clapping rather mechanically in order to induce the performers to appear.

A grand piano, a black umbrella and several vials and vases of bubble soap featuring protruding wands, like headless flower stalks awaited Bou and Maso, as a screen slipped neatly into place at the front of the stage as the lights went down.  The performers could be seen shaking hands and bowing to one another in silhouette amidst ever shifting splashes of rainbow colours as bubblist Bou drew a small bubble from a wand, like Pan, drawing notes from his pipe. The screen shifted into backdrop position and both performers took their places, as rather surreal images and film footage appeared to fill in any brief gaps as scenery and equipment were shifted, during the course of this unusual and intriguing performance.

Preliminary bubbles reflected gold, blue and violent lighting above, dematerialising into smoky vapours, having been injected as they were with cigarette smoke. Subsequently, multitudinous bubbles, like shifting pearls, cascaded down a dark silk slide, while at another point, a windowpane shaped soap bubble shimmered with electrifying effects as Bou shook its frame, interloping its flat reflective surface with circular, smoke filled shapes he’d blended into it, rounding the grouping off in conclusion. A huge, flower shaped formation, with misty petals and a clear centre, seemed to materialise out of nowhere, like a strangely ethereal scientific model displayed under fuchsia light.

One particularly striking sequence featured projections being shown through the soapy, shimmering windowpane which created mesmerising patterns on the wall beyond. While all of these fascinating experiments were being conducted, Maso continued to weave his own magic on the piano, via such pieces as Donostia’s Singing in the Light of the Moon and Faure’s Nocturne, Op. 33, No. 3, returning at the conclusion to the performance’s title piece, Debussy’s Claire de Lune.

Bubbles, an inexpensive toy we’ve all played with as children, assumed a new grandeur in this one off performance, especially as Bou constructed his last masterful piece, featuring a smoke filled square as its centre-point.  How does he do it, one wonders, wonder being the operative word.

www.pepbou.com

www.mimefest.co.uk

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