The “Hole” Between Artifact and Viewer

A few weeks ago, I had lunch with local artist Judith Levy. Having freshly come back from the

east coast (her- a residency at Art Omi; and myself- showing curated work in New England),

Levy asked me “what is the most interesting art you have seen in Kansas City?” I

immediately responded with “Mel’s Hole.” While the play wasn’t shown at the typical

alternative-theatre venues, or in the crossroads (Shown at Hoop Dog Studios), I found the

project rich in multiple artistic and aesthetic histories; recalling various theatrical types,

which, in turn, enabled a unique development of creative live exploration that, for me,

rendered itself far more interesting than most work I have seen recently.

Mel’s Hole is a collaborative project, which fully materialized through a collective process, as

cast members and musicians performed during a weekend-long production at the beginning

of August. The play, loosely based off of a phone call in 1997 from a man named Mel Waters

on the radio program Coast to Coast A.M. with Art Bell, was a combination of Brechtian

theatre, Hedwig, fantasy, slapstick, and sincerity. The play envisions life outside and inside

the “hole,” while government agents function as the antagonists to Mel. The characters

inside the hole are fragments and collections of objects thrown into the hole over the years,

and when one of them, a seal played by Flora Mahaffy, “crosses over” – complications ensue

among the creatures’ interpersonal relationships, finally culminating in a comedic, dramatic

decision by Mel.

The overall composition embraced multi-layered artistic strategies that could be appealing to

families as well as contemporary Brecht-seekers, such as myself. While I don’t always agree

with the idea that aesthetic content ought to be “available” to families as well as critics, Mel’s

Hole showcased a capacity to embody an enrapturing experience for the viewer, without

over-saturation to a point of rendering the viewer numb. This experience was made possible

through a musical exposing its workings rather than working toward mindless, glossy

consumerism. While costumes were vibrant and riveting, each costume erred on the side of

gaudy, instead of opulent, that revealed physical visual work done by actors instead of the

aristocracy. However, to say it was charming would be to, in my opinion, belittle the

production. Instead, it was funny, warm, and inclusive. While still located within the

proscenium arch, Mel’s Hole retained an ability to reach out to viewers, to develop a third

space between stage and audience. And, while arguably, this third space is achieved

anytime a live or aesthetic work is produced; sometimes this space is more developed, more

nuanced than others. It is through this collective energy that I found homage to Brecht, to a

kind of theatrical and artistic space that asks the audience to think, though not through

ostentatious visual and physical means.

Having seen several Brecht productions, both at the college and professional level, I do not

believe I have witnessed a particular core of what Brechtian theatre gave contemporary art:

the meta-space as a space of criticality, momentum and productivity. Often, Brecht theatre

undergoes the same slick treatment as other types of productions. (For example, in an

“experimental” production ofThe Jungle in Boston, 2011, the set design remained new,

calculated, and austere.) The meta-space that Brecht pushed in his writings and plays

functioned as a location for critical dialogue to occur. With the meta-space/text/feeling/affect,

the audience could develop a type of cognitivedissonance with the aesthetic material in front

of them. Through this dissonance, the audience may generate a more critical eye by which to

examine other types of social, cultural, and political spaces, ultimately leading to changes in

society. Whether or not his goals and ideas found fruition is up for debate; however,

Brechtian meta-space has provided a frame and fuel by which one may generate and

unpack artwork. The Brechtain lens provides particularized strategies, which have the

potential to engender moments of (in his understanding, politically-charged) consumptive

clarity for the viewer.

This aesthetic produces acting techniques that simultaneously showcase the character

portrayed and actor playing the character, costume and set design that reveals its own

generative process, and music as a dismantling force within the Diegesis. In art, we see

these strategies through tongue-in-cheek art historical reference, satire, and viewer

acknowledgement. Visual composition, aesthetic technique, audience participation, and

materiality are all ways in which the meta-space/third space of the Brechtain form is

rendered. It is here I find overlap between live and mediated artwork. Mel’s Hole was, in my

opinion, both an incredible piece of theatre as well as fine art.Additionally the play

succeeded as public comedy, physical theatre, performance art, dance, and music. Clever,

curious, bizarre – but never pretentious –Mel’s Hole occupied a rare space among

contemporary culture.

During intermission, while speaking to other audience members, weall felt immensely

motivated to create. Yet, not in a way that emerged from a sense of lack: one’s own personal

production, of textbook knowledge, of talent, etc.; but from a motivation possessed through

a collective understanding that creative work can happen, and that there is a space, place,

and community in which the work may happen. In Kansas City, and elsewhere I imagine, this

type and quality of motivation is exceptional. This resulting affect, for me, absolutely

positions Mel’s Hole as one of the more interesting events I have experienced in Kansas City.

* List of cast/crew/musicians/special thanks

Nick Begley

Andy Cullen

Party Ron

Aaron Esala

Sean Eagan

Daniel ‘DJ’ Frick

Matt Gladson

Lindsey Griffith

Samarah Hagagi

Suzanne Hogan

Bri Shay

Flora Mahaffy

Christopher Trailer

Danica Wilson

6 Mil

Evan Malone

Suzanne Hogan

Danny Fischer

Nick Begley

Charlie Mylie

Danny Perelman

Jacque Griffith

Aurora Kettering

Zack Herrmann

Timmy Put

Jon Kraft

Lori and Kathy