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AbstractHistoryArchive Description
'This play explores with humour and theatricality our ongoing search for the values we can live by in a world where our moral foundations are as uncertain as a compass at the South Pole.
Linking fractal art, religion, Alzheimer's and several forms of love, "Molly's Shoes" is the story of Molly, David and Elspeth at two periods in their lives, twenty years apart. Molly's Shoes depicts a narrative split across time.
Physics students David Moss and Elspeth Straun fall in love between 1997 and 1999 but their relationship fractures into the new millennium as their belief systems begin to clash under the critical eye of their senior lecturer, Professor Molly Taffy. In the near future, an older David and Elspeth are reunited in time to watch Molly degenerate into Alzheimer's, forced to make ethical decisions as the moment dictates.' Source: www.bakehousetheatre.com (Sighted 19/05/2011).
Linking fractal art, religion, Alzheimer's and several forms of love, "Molly's Shoes" is the story of Molly, David and Elspeth at two periods in their lives, twenty years apart. Molly's Shoes depicts a narrative split across time.
Physics students David Moss and Elspeth Straun fall in love between 1997 and 1999 but their relationship fractures into the new millennium as their belief systems begin to clash under the critical eye of their senior lecturer, Professor Molly Taffy. In the near future, an older David and Elspeth are reunited in time to watch Molly degenerate into Alzheimer's, forced to make ethical decisions as the moment dictates.' Source: www.bakehousetheatre.com (Sighted 19/05/2011).
Production Details
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Premiere production by Accidental Productions at the Bakehouse Theatre, 19 May-4 June 2011
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Dramaturgy of Mobility : Towards Crossover and Fusion in Out of the Ordinary
2017
single work
criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 159-186) 'This article examines the implications that the new cultural competencies and literacies associated with participatory and popular cultures might hold for dramaturgy in terms of characterisation, creating a sense of space-time, and the artist's role in society. Our analysis focuses on Alex Vickery-Howe's new Australian play Out of the Ordinary (2016), situating it in the context of his earlier explorations of alternative dramaturgies, Once Upon a Midnight (2008) and Molly's Shoes (2011). Drawing structurally on the ways crossover and fusion have developed new cultural expression and reached new audiences in music and film, we investigate the creative potential that comics, manga, anime and related fan cultures might hold for dramaturgy. Our goal is to explore the thinking that underlies crossover and fusion as artistic practices requiring a kind of creative bilingualism - in our case, a mastery of the cultural competencies and literacies associated with cross- and multi-modal creative expression. We suggest that such creative bilingualism has been a continuing element in culture since the rise of melodrama, reminding us that expressive turns towards mystery, magic, intense spiritual experiences, etc, could, in fact, underscore social engagement. (Publication abstract)
-
Dramaturgy of Mobility : Towards Crossover and Fusion in Out of the Ordinary
2017
single work
criticism
— Appears in: Australasian Drama Studies , April no. 70 2017; (p. 159-186) 'This article examines the implications that the new cultural competencies and literacies associated with participatory and popular cultures might hold for dramaturgy in terms of characterisation, creating a sense of space-time, and the artist's role in society. Our analysis focuses on Alex Vickery-Howe's new Australian play Out of the Ordinary (2016), situating it in the context of his earlier explorations of alternative dramaturgies, Once Upon a Midnight (2008) and Molly's Shoes (2011). Drawing structurally on the ways crossover and fusion have developed new cultural expression and reached new audiences in music and film, we investigate the creative potential that comics, manga, anime and related fan cultures might hold for dramaturgy. Our goal is to explore the thinking that underlies crossover and fusion as artistic practices requiring a kind of creative bilingualism - in our case, a mastery of the cultural competencies and literacies associated with cross- and multi-modal creative expression. We suggest that such creative bilingualism has been a continuing element in culture since the rise of melodrama, reminding us that expressive turns towards mystery, magic, intense spiritual experiences, etc, could, in fact, underscore social engagement. (Publication abstract)
Last amended 19 May 2011 13:43:22
