The possibility of future splendour

The first practice-sharing is Caroline performing All of Me: or as the wonderful unframing of the accompanying non-programme puts it: the show formally known as All of Me that is not currently in a position to give itself a title.

It has been called a theatre poem, which the play likes and I like that as well.


This practice-sharing is of work in progress: stuff, performed but also still performative, unfolding without the pressure of being rehearsed as part of a well-tuned overall picture with every bit worked out. This is the power of the performative; things become on stage, given over entirely to how they plan out in that given moment. It is a privilege for the stuff ‘inside’ Caroline’s play that may or may not be called All of Me to be unveiled, and for me to encounter it in it’s ‘raw’ state.

There were many things of note that already resonate with the things me and Caroline have talked about. They are:








All of these things do not rely on words or communicate in the conventional sense, but it evokes: meaning is made even if it is not possible to fully articulate it. Perhaps this is its beauty; what makes it exist on a poetic level?

These things are also threaded together throughout the performance through a multi-layered rhythm – temporally this rhythm is linear, but it is also spatial and has a sense of depth – in which layers surface and collide at various points: the light from the glitterball as it never stays still and inhabits different part of the space at different points; the reassuring tap-ti-tap tap-ti-tap as Caroline tap-dances when the audience enter the theatre; music, singing; spoken word overlayed into the space and coming from ‘elsewhere’; silences; utter darkness; exposure as the audience become illuminated; repetition.

Enunciated by points of rupture and interspersed with space // b-r-e-a-t-h(e) // to take stock, wonder, to just be.




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