Le Mort 2009 (Independent)
BRAS OFF, BOTTOMS UP
Local troupe's Le Mort is terrifying and terrific
I walked up the stairs to Out of Line Theatre's production of Le Mort in utter terror. Wouldn't you be completely terrified if the website for a play showcased a naked woman's crotch drenched in soup? The disclaimer in the program did nothing to calm my nerves: "We ask that audiences leave promptly after the showing of Le Mort [ . . . ] we'll have a lot of cleaning to do." Cleaning of what? Soup? Blood? Shredded body parts? Maybe I should have worn a raincoat.
The production, based on Georges Bataille's erotic novel Le Mort opens with the entrance of the narrator, Death (Ian Mozdzen). He sits in a curtain-draped corner, wearing a skull mask, and reads excerpts of Bataille’s novel to his listeners. Thus, the production becomes something like a storytelling session with plenty of audience interaction. Soon, Death introduces Marie (Mia van Leeuwen). Marie's lover, Edward, dies at the beginning of the novel, and on his deathbed, Edward asks Marie to take off her clothes. Despite much tearing of clothing, and the violent shaking of her naked breasts, Marie cannot fully undress before Edward dies. The rest of the story follows Marie in her attempt to come to terms with her nakedness and sexuality during a drunken rampage in a nearby bar.
While the production could easily leap from one uncomfortable moment to another, Mozdzen and van Leeuwen find the comedy in the story. They use sound to perfection in their small space, and they have hauntingly musical voices, like something out of an old radio mystery. Van Leeuwen is especially intriguing, with excellent control of her body and a strong ability to improvise. If not for her, I probably would have dismissed this production as overly vulgar with gratuitous nudity and unnecessary shock values (Marie wrestles a dwarf, then pees, vomits and defecates on his head — with water, soup, and chocolate sauce). However, because she laughs at herself, interacts with the audience, sings, screams and takes off all her clothes, I give her a big pat on the back. She has more guts than I have. And even if I cannot relate to her character's need to show off her "snatch,” I can understand the feelings of uncertainty and desperation at the loss of love.
Of course, I wouldn't recommend a show like this for the faint of heart. In fact, I would even recommend a solo outing to see Out of Line’s future productions. That’s what I did, and I had a quite enjoyable time because I didn’t feel the need to act shocked or embarrassed for the sake of other people. Sure, the play was outrageous. I saw a lot of naked body parts. I got to smell soup mixed with chocolate sauce mixed with a sweet, flowery perfume. Yet, in the end, I felt liberated and quite proud of myself for sticking it out. So let's all open our minds, shall we? Bras off, bottoms up.
- Andrea Karr
The Manitoban, December, 2009
Mia, the show tonight was sensational -- just incredible. You are really an incredible actress and comedienne!! The leg 'n' snatch combo was so uncommonly hilarious and something ineffable, too. In fact, there were so many things on stage that I'd never seen before. Your running laps in your own spritzed water was truly ingenius and gorgeous! Thanks so much and congrats to both of you. A wondrous adaptation and performance!
- Guy Maddin, Filmmaker
That was raw. You've got cajones girl! I haven't figured out everything you were up to but your characterization of Marie/Shock-comedienne entertained, shocked, saddened, desensitized, surprised, aroused, horrified (in terms of a woman spiraling towards insanity [or was it cosmic revelation] and death) and amused me. The diversity of audience reaction was also interesting. It was certainly something I never expected to see outside of Montreal or New York. The sleepy hometown undercurrent never ceases to amaze me. I like to be shocked, it's oddly cleansing in a weird way. Frankly I find creationism in schools more shocking, but society is generally whacked. I'll leave you with an appropriate Frank Zappa anti-creationist-create-your-own-kinda-art celebratory quote "May your shit come to life and kiss you on the face." Congrats on the packed opening night. P.S. like the Dali.
- Duncan, Audience Member
I just wanted to tell you that we had a great time last night and Mike, Matt, Mel and myself really enjoyed the show. I read Bataille's The Eye after reading about him on your website and it was pretty hard core and dark so I wasn't sure what to expect, I thought the play was going to be very bleak and uncomfortable, but you and Ian made really good choices in making it playful and funny. I also liked the way you broke down the fourth wall with the audience throughout the show, it seemed to get everyone more involved in the play.I also wanted to comment on how tight the performance was, especially considering it was your opening night. As far as I could tell, Ian was bang on with the music cues (nice choices on the music by the way) and the playful banter between you and Ian as narrator was quite funny. It was a gutsy performance and I can appreciate the courage it takes to get up in front of a roomful of people and open yourself up like that. I hope the rest of the run goes well for you guys and I'm glad we came on opening night so I'm looking forward to seeing what you and Ian come up with in the future.
- James Rewucki, Director of Absurd Machine
Just wanted to drop you a line to thank you for your wonderful performance! I came to your show on Thursday night and was most impressed with your performance. Right from the personal call to let me know that I had a reserved seat to including me in your performance (well, I got a hat to wear and truly enjoyed being "Poileau?" ) really made it a truly intimate event. It even ran the gamut of emotions (I was happy, sad, horny, ashamed; you name it, I felt it at the show.) Anyway, I just wanted to tell you how much I enjoyed it and hope to see more fantastic performances from you in the future.
- Rick, Audience Member
I loved your show yesterday. Kevin and I both thought it was really grounded and vulnerable and full of life (haha!) The dynamic between Death and Mia/Marie was great (Death as narrator or author and Mia/ Marie as the obliging character yet also performer), it really made us comfortable to go along with Marie on her wild ride. I think you've really taken the "clowning" ideas (audience connection etc.) and have put them to use better than anything I've seen. We talked about the show all the way home relating our favourite parts and etc. The very end when Ian is dancing and you're an angel was like a flurry of sensory delectables! I think my favourite part (among many) was when Marie opened the door and the dwarf was there and she said "ah, gawd"...
You are beautiful! Thanks so much for the show, and Merde! for the festivals to come!
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-Charlene van Buekenhout, Actor and Artistic Director of Echo Beach Theatre
The God Box 2008 (Independent)
“Thank you for tonight's theatre piece. Sometimes, considering what too often is put on stage, it is embarrassing for me to tell people I work in theatre. Tonight I was not embarrassed.”
– Grant Guy, Artistic Director of Adhere & Deny
“I have had your images behind my eyes since, that boy is a diamond, with his alienated body and transparent skin, and a mirror so he only can see gods sky. You have a striking scenic talent of visuality! It was an inspiring pleasure!”
-Lenemarie Olsen, Artistic Director of DerGeist Theatre
“Your success in presenting multiple Marguerites as a singular entity is beyond what I think most producers will ever touch… But, by far the most mesmerizing of all (which is a complete surprise to me, because I'm not usually visually affected) was the static remnant of the story which remained on stage after all the acting stopped. The stained wings and pillow on the floor, "Take Me" scrawled in chalk, and smoke rising from the God Box. I felt as though I was witness to a living postcard. A stamp left in time. An indelible mark which I could see, but which in most instances is conveyed only in the almost imperceptible and subtle gestures that people share between the lines of their daily lives.”
– Paul Stallion, Audience Review
“Excellent staging”
– Christoff Engbrecht, Audience Review
“Sharon Bajer, a performer and collaborator on the piece, said that although van Leeuwen wrote the play, there was a lot of room left for improvisation. ‘In my experience, sometimes collaborations just don’t work…There are so many minds trying to compete with each other. With The God Box, we were able to pitch our suggestions without that competition’ ” – The Uniter, Preview of The God Box
The Rite 2008 (Workshop Presentation, Co-production: ool & The Rite Productions)
“The piece … was clearly the result of unbridled exploration and the work expressed that delightful joy of discovery … childlike exuberance gave the performance a rich vitality and charm … Many scenes and images were profoundly affecting and stayed with me, haunting my thoughts for days afterwards.”
– Debbie Patterson, actor & playwright
On The Rise (Winnipeg Arts Council) Nomination, June 2007
“Mia van Leeuwen and Ian Mozdzen: for their boundless creativity, uncompromising integrity, and exemplary discipline in the creation of four original, visually stunning, emotionally complex, intellectually stimulating and boundary-breaking theatre productions” – Nominated by Drek Daa, CBC Columnist That Polish Guy
VVITCH 2007 (Independent)
“In its first four titillating years of existence, out of line theatre has lived up to its name.”
– Kevin Prokosh, Winnipeg Free Press
“Out of Line Theatre returns to the spotlight tonight with VVITCH, an original, mutli-disciplinary work that features a 3.5 metre-high crucifix, a witch burning, an antlered devil and plenty of sexual hanky-panky.”
– Kevin Prokosh, Winnipeg Free Press
sayonss 2007 (Young Lungs Presentation)
“A coven of black cloaked performers…hoo-ha-ha their way through a witchy ritualistic act that conjures 17th century spirits Anne and Brian Gunter…If the work was seeking to create a strong response, it was more then successful at doing that”
– Holly Harris, Winnipeg Free Press
Jealous/Pervert 2006 (Independent)
“Any production that leaves you trying to decide if you’re really freaked out or kind of turned on is a good one…graphically violent and surprisingly beautiful account of destruction and perversion, but also of creation and vitality…It’s definitely not theatre for the squeamish.”
- Jen Zoratti, Uptown
“Like the tango motif that ran through the show, the performers tangoed with us: doling out attraction and repulsion in equal measures…All the elements of this production were imaginative, functional and gorgeous…Most of the audience seemed at ease with the transgressive quality of the work…”
– Canada Council for the Arts Assessment
“out of line theatre is breaking daring new ground and doing so with courage and vitality…I believe out of line theatre is poised to become an artistically important company and richly deserves to be nurtured into maturity”
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-Canada Council for the Arts Assessment
PeepShow 2004 (Independent), 2005 & 2006 (National Fringe Festival Tours)
“PeepShow puts out…they do dare to get naked in a way that feels genuinely vulnerable – mostly because it’s also smart…this cabaret more or less works, and the underlying notion--that there’s a point beyond which erotic fantasy becomes narcissistic and lonely--is valuable. ”
– Colin Thomas, The Georgia Straight, Vancouver Fringe 2006.
“Consider the players. Mia van Leeuwen and Ian Mozdzen are a couple of obviously subversive Winnipeg artists…Their particular oeuvre is avant-garde on stage sexuality, delivering bizarre and intense scenes that can be hard to watch…The material is eccentric, to say the least, but these two have it down tight. Their movements onstage are so meticulously choreographed you cannot turn your eyes away.”
– Richard Helm, The Edmonton Journal, Edmonton Fringe 2006
“Ian Mozdzen and Mia van Leeuwen re-define ‘erotic’ in this complex, creative show about sexual desire”
– Cam Fuller (The Star Phoenix), Saskatoon Fringe 2005
“With an astounding command of colour, form and rhythm, Mozdzen and van Leeuwen spin a web that grows more intriguing as the show progresses”
– Jenny Henkelman, The Winnipeg Sun, 2005
“Hilarious, side-splitting…takes us on an exploration of our sexual endeavours or perhaps of ones that we never knew we had”
– The Uniter, 2004
S&M 2004 (Winnipeg Fringe Festival)
“Scatological humour abounds in this edgy two-act drama aimed at kinky sex fans and feces fetishists. The Winnipeg theatre company has minded similarly bizarre material at past fringes. Here they revel in cross-dressing, sexual role playing and sado-masochistic fantasies, employing the language of depraved 19th century European aristocrats.”
- Morley Walker, The Winnipeg Free Press
“Of course, I only saw this play because a friend wanted to, because I was required to as a journalist, because I have an intellectual interest in the literary content, and not because I have any other interest in the matter. Of course such rationalization is one of the ways we avoid dealing with such taboo subjects and the company highlighted such an audience experience by having a large mirror upstage centre and keeping the house lights up in the first act so that the audience could always see themselves and each other. It was very full the night I saw it, and I couldn’t help but look around at the crowd and wonder about them, and if they were looking at me and wondering about me.”
– CBC Review
“More intellectual than it might otherwise appear, S&M is also filled with great acting performances from Glenn Hall and Mia van Leeuwen”
– Mike Warkentin, Uptown Magazine
life of a secret 2003 (Winnipeg Fringe Festival)
“Hypnotic”
– Morley Walker, Winnipeg Free Press
“life of a secret was haunting and beautiful. The choreography, physicality, energy and stunning visuals together formed a powerful and disturbing story. I was moved to tears within the first few minutes…”
– Janine Le Gal, Audience Review
“I never know what to make of performance art.”
– CBC Review