FRINGE 2016: A David Lynch Wet Dream

Simone de Beauvoir said surrealism is often more real than realism, and this certainly rings true in regards to A David Lynch Wet Dream. Promoted as a dark non-narrative, after seeing it for myself I’m reminded that there is no such thing as a non-narrative, only that the viewer dictates what’s happening instead of the screenwriter.

Over the span of thirty minutes, Natasha used body language, inanimate objects, instrumental music, and projections to spell out symbols for the audience to reassemble as they will. Starting with the communion of two shoes, and an on-off dance sequence, Natasha fights her body in order to obey an unknown force that directs her, voicelessly, from the audience. Eerie jazz plays as the protagonist dances with a strained smile; looking like how one feels in a dream when their body won’t obey the mind’s order to run.

She hits her legs when they lose time and the music dies out; then dances painfully slow when she stares into the audience and nods solemnly, accepting whatever it is she hears that we can’t.

One of the greatest parts of this show, in my opinion, was the brilliant use of projections. During these dance solos, images of blinking eyes are screened onto the wall behind Natasha as well as onto her body, externalizing the gaze that appeared to be causing her so much pain. After dancing she smiles and thanks the audience, miming “call me”, and bashfully exiting before the voice brings her back with more pointed direction.

Here is when things start to feel particularly Lynchian: dark, sexual and, arguably, overtly misogynistic.  Clothed in nothing but a spotlight and a flimsy white dress, Natasha sings “In Heaven” gravely while slowly unbuttoning her dress, looking every bit as distressed as I felt for her. My personal narrative started to superimpose itself at this point. Thoughts of the violence of the male gaze, the sexualization and objectification of women and female identified people ran through my mind as Natasha rubbed black ink into her bare skin.

This feeling of helplessness did not last long. With one of the strongest endings I have had the pleasure to experience at this year's Fringe Festival, in less than ten minutes, Natasha was able to bring me from despair to empowerment. Walking away from this piece I felt hyper aware of my body. Thoughts like: I am both object and subject, soft and strong, sexual and not, left me buzzing with that special Fringe energy.

By treating the audience as an abstract body, as a silent voice commanding her every move, Natasha made a poignant statement about the role external pressures play in the day-to-day performativity of the human body.

Whether A David Lynch Wet Dream is a critique of the patriarchy or not, I walked away feeling stunned and, yes, strong. Don’t miss your chance to see this beautiful piece of work tonight, tomorrow, and Saturday at the Studio Multimedia du Conservatoire.

A David Lynch Wet Dream is brought to you by 2HOOTS Productions, and continues to play at the Studio Multimédia du Conservatoire, located at 4750 Henri-Julien at the following times:

- Friday, June 17 from 22:00
- Saturday, June 18 from 13:45
- Sunday, June 19 from 21:30

-------

Sonja Hanson is part of CJLO’s Official Fringe Team covering the sights and sounds from the 2016 St-Ambroise Montreal Fringe Festival. She also hosts Behind The Counter every Thursday morning from 11am – Noon, only on 1690AM in Montreal and online at CJLO.com.