Described before the show starts as a ‘listening experience, Cow/Deer is an experiment with recorded sound and live foley effects from a quartet of performers.
It’s a summer’s day from the perspective of a young deer and a heavily pregnant cow. The stage is made up of a row of hay bales topped with various props set to make sound. These include plants, glass and other natural elements.
In between the bales is a see-through box of water and stones, and there’s a similar compartment at the back, tall enough for a performer to stand in.
The questions I think are relevant at a show like this are: can it be followed without very little prior knowledge; does it make sense: and how does it make a audience feel?
Glancing round, some audience members had their heads bowed or eyes closed, listening, while others watched the performances closely. I tried both approaches during the hour.
On consulting the playtext after the show I realised what I thought was happening was often not correct at all. I recognised birds flying, calls of nature, and the birth of a calf. I was clear that neither the cow nor the deer had a happy ending at the hands of humanity.
Otherwise, it was a guessing game. I sat near the front so I could see all the props being used, but further back in the space you might struggle to make the connections.
I was expecting more emphasis on live sound and foley art, so it was a surprise to hear music and mechanical effects not emanating from the stage.
It was also a little confusing to watch something happening on my left side but the sound coming from a speaker on my right. Disorienting. Perhaps a deliberate choice.
Does Cow/Deer make sense? Well, no. But then it doesn’t have a linear narrative. The playtext does have a scene structure and a purpose but unless you read that or its introduction, you wouldn’t know anything about it.
So, it is experimental. Now and again, there was a gasp or an uncomfortable shift in someone’s seat. One person sighed. A few consulted their watches. For me, I was fascinated by watching what was going on but couldn’t always make the connection to the animals.
Having said that, animals must find a world populated by humans pretty confusing, so Cow/Deer puts us in their place. We don’t know what everything means in this show.
Teaming Cow/Deer with Deaf Republic in the main house downstairs at this venue is a stroke of genius, as both are about communication and communality.
This won’t be for all theatregoers. It is often a frustrating experience. It feels a little bit long despite the clear skill and commitment of the artists.
Created by director Katie Mitchell, playwright Nina Segal and sonic artist Melanie Wilson, Cow/Deer is an admirable way of finding something new in performance, and I was intrigued by the use of objects like a hot water bottle, putty, and cotton bobbins.
A special nod to Tom Espiner, who acted with his whole body to evoke the animals. Ruth Sullivan (most of the cow work), Pandora Colin, and Tatenda Matsvai make up the rest of this talented team.
I’m giving this 3 stars.
Cow/Deer continues at the Royal Court (Upstairs).until 11 Oct. It is now sold out.
Photo credit: Camilla Greenwell