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A Delicious Meal: Needcompany's Morning Song

A Delicious Meal: Needcompany's Morning Song At first the setup looks familiar: five microphones and stools lined up downstage. I know what I’m in for. But off to the right is a fully equipped kitchen, and far upstage a brokendown sofa. Center stage is bare. There are no video monitors anywhere. The actors enter casually, sit on their stools, watch the audience settle down, and then begin to discuss how political affiliation affects eating habits. They speak in the mock-urgent, throwaway tone I expect. The woman to my left says, “That guy in black looks like Grotowski wearing shades.” Suddenly the stage conversation merges into a rhythmic chant: “Man, you got to move on, man, you got to move on, man, you got to move on, man.” Rock music starts, and the actors move gracefully into a pop song that has nothing to do with the politics of consumption. At the end of the song a woman in a short white lace dress and bare legs runs onstage and throws her limbs about violently, tossing herself around as though she’s inside a blender. “Very De Keersmaeker,” says the woman to my right. As the dancer walks off, an actress of considerable stature enters and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

A Delicious Meal: Needcompany's Morning Song

Rundle, Erika
Theater , Volume 30 (2) – Jan 1, 2000
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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-30-2-145
Publisher site
See Article on Publisher Site

Abstract

At first the setup looks familiar: five microphones and stools lined up downstage. I know what I’m in for. But off to the right is a fully equipped kitchen, and far upstage a brokendown sofa. Center stage is bare. There are no video monitors anywhere. The actors enter casually, sit on their stools, watch the audience settle down, and then begin to discuss how political affiliation affects eating habits. They speak in the mock-urgent, throwaway tone I expect. The woman to my left says, “That guy in black looks like Grotowski wearing shades.” Suddenly the stage conversation merges into a rhythmic chant: “Man, you got to move on, man, you got to move on, man, you got to move on, man.” Rock music starts, and the actors move gracefully into a pop song that has nothing to do with the politics of consumption. At the end of the song a woman in a short white lace dress and bare legs runs onstage and throws her limbs about violently, tossing herself around as though she’s inside a blender. “Very De Keersmaeker,” says the woman to my right. As the dancer walks off, an actress of considerable stature enters and

Journal

Theater – Duke University Press

Published: Jan 1, 2000

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