They say a picture is worth a thousand words. But in this day and age is a single photo enough to capture something as small as a moment or as vast as an entire war? Perhaps that is all it takes; one look to discard the complexities of a single still image: a child holding a gun, an orphaned Iraqi woman, or a half buried pile of civilian casualties. Presented by Vancouver based company Boca del Lupo, PHOTOG: an Imaginary Look at the Uncompromising Life of Thomas Smith, examines the controversial and provocative worlds of conflict journalism through the fragments of one man’s memory. In 2008 co-creator Jay Dodge interviewed four contemporary conflict photographers on camera in New York City. He weaves together their experiences, memories, and photographs into PHOTOG; a challenging piece that asks us to look closer at our complacent attitudes toward war, conflict and poverty.Directed by Sherry Yoon and written and performed by Jay Dodge, this dynamic duo brings enormous spirit and connection to their work as they are also co-creators. In addition, the piece is seamlessly stitched together by a creative team composed of Tara Cheyenne Friedenberg (choreography), John Webber (lighting), Brae Norwiss (video), Carey Dodge (sound), Pietro Amato (composer) and Mara Gottler (costumes), to name a few.
Although the main character Thomas Smith (Dodge) is fictional, the stories are true, the text verbatim, and the images are unquestionably real. The piece juxtaposes the extreme landscapes of war with the banal and domestic images of home; the two so at odds with one another they prove impossible to reconcile. With intensely precise and imaginative use of technology, computer animation, dynamic physicality and good ol’ theatrics, the piece is able to examine the juxtaposed contrasts of black and white, war and peace, foreign soil and home turf, privilege and suffering, and togetherness and isolation, resulting in an introspective look at our own lives.
Although Dodge’s performance is strong, the emotional arc of his character falls flat. Smith wears an emotionless mask through the piece which mirrors the isolated complacency of his world. However there needs to be moments where the mask dissolves so we can see the man behind the shell and his emotional depths. If Dodge takes an emotional leap and plunges into the deep end to find the stakes, the audience will too.
In contrast, the technological integration of the piece is incredibly effective. The use of photography, video, music, animation, and physicality is so seamless it really becomes a character in itself. Amato’s live music composition brings a beautiful layer to the piece and Sean Tyson rigging work adds an explosive physicality. All in all this is a technological masterpiece. My only concern is a few of the video choices, namely the peep-hole characters as seen through the door, which seem too false and contrived in this world of honest story-telling.
Yoon’s direction is also inventive and strong. She masterfully balances the complex technical elements with simplicity on stage. The pacing of the piece is well-timed and the transitions smooth as glass. The energy, however, is a little tentative off the top and it isn’t until around the mid-way point that the audience is really sucked into the world. Nevertheless, by the end the stories are engulfing and the images provocative. The final moment of Smith walking down the hall into vastness resembles something like an asylum, mirroring the disturbed nature of his inner turmoil.
The end result: a piece that asks us to look deeper at our own lives and the price of our privilege. PHOTOG successfully breaks down society’s disassociation in world affairs, packing an emotional punch stronger than words. Unfortunately even that might not be enough to knock us out of our complacent attitudes.
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