'Tis the season to be darkly

Black Hole returns with a dark comedy theme

Will O’Donnell

The new season of U of M’s own Black Hole Theatre Company (BHTC) is already in full swing and looking positive, which is almost ironic since the theme this year is “dark comedy.”

The first show of the season was a double bill of English Made Simple and Sure Thing, both directed by Marleigh Chapman. This show was part of the Lunch B.H.A.G.G. series. For those that are unfamiliar this, the Black Hole season kicks off with smaller shows dubbed “Lunch B.H.A.G.G.S,” where anyone can attend free of admission at noon and are encouraged to bring their lunches. (B.H.A.G.G. stands for "Black Hole Anarchist Group G.”) These shows also feature a Wednesday evening performance, which only costs $1 to attend. The Lunch B.H.A.G.G.s run all year, in between the three main-stage shows.

The debut show was a very fast and funny coupling of comedies that play off of the meaning and consequences of conversation and, well, coupling. For the sake of those who would not normally attend theatre, it would seem to be a good idea to open a season with something fun, which was exactly what English Made Simple and Sure Thing delivered. They were not quite dark, but just crass and freewheeling enough with their language and subject matter to help suggest that the Black Hole is not heading anywhere particularly fluffy this year. I wish I could encourage you to see the show, but its brief three day run has already passed.

Never fret, the next Lunch B.H.A.G.G. on the docket debuts on Oct. 16, which is less than a week after the premiere show ended its run. This next show is entitled Motifs and Repetitions, which is the story of a confusing love triangle, as directed by Andrea Karr. In an interview with her, she described the play as “abstract” and “not flowery,” and hopes that its lighting fast scenes and varying light and sound cues might leave the audience a bit disoriented. With all of this in mind, she also expressed hope that, while the play is at its roots “dramatic,” the audience will find some parts to be very funny.

Clocking in at only 20 minutes (I did say it was fast), the BHTC have decided to accompany it with another act. Nothing is set in stone thus far about what the act or acts will be, but the front-running idea is to have someone perform live poetry; which Karr believes will best suite the “distinct rhythm” of her show. There is the possibility of either a musician, additional theatre (such as improv) or a poet on any given performance. Apparently, there is also the possibility that the added act might be of a different sort every night, so with a free admission (save for the Wednesday evening performance), why not see as many as you can?

November (the 13th to be exact) brings the first of the main-stage shows. Landscape of the Body, directed by Jennette Heinrichs, is described on the BHTC’s official site as a tale of murder and disconnection from one’s self through either loss of identity, or perhaps even the literal loss of body parts.

All of the main-stage shows contain warnings about their content, language, and gore (apparently) so proceed with some caution, but also enthusiasm; after all . . . these promise to be very interesting comedies all season. Although the main-stage shows have admission prices, there will be an option to subscribe to the whole season, which I highly recommend.

Check out the official site (www.bhtc.ca) for show times and further information on each of the upcoming shows; or just keep an eye out for the posters that will be appearing around all major buildings and bulletin boards around campus.