Exploding Moments: Craven Monkey and the Mountain of Fury

(Photo: Ben Vandenboom)

Remember plays? How they’re playful? How they’re about people playing? I may have forgotten that a little amidst all the work of plays, only to be happily reminded by Piper McKenzie’s Craven Monkey and the Mountain of Fury. The sheer joyful invention of this dance/fight/play had me foolishly grinning from start to finish.

And so Craven Monkey is the perfect way to restart our series, Exploding Moments. For those who may have (justifiably) forgotten, this series examines excellence in production through the prism of a single moment.

This time round, we’re looking at Monkey’s (Adrian Jevicki) battle against the Air Spirit(Becky Byers). We’ll also hear from playwright/director Jeff Lewonczyk, co-fight director Adam Swiderski, and actors/arial aids Fred Backus and Mateo Moreno.

The Plot You Need To Know: Monkey has lived a peaceful life of mating with his fellows when a bad back forces him to invent the missionary position. Exiled by his tribe for his sexual innovation, he wanders lost until meeting an enigmatic sensei who teaches Monkey some moves. Those moves may or may not protect him against a series of enemies set against him by the equally enigmatic Vital Spirit. After defeating the Earth and Fire Spirit, he faces off against the aerial aggression of the Air Spirit.

The Exploding Moment: With the help of two other actors, the Air Spirit literally soars across the depth of the stage to pounce on Monkey’s back. It was an exhilarating, hilarious, and beautiful moment that was the exact right escalation of the action. So how did it happen? Let’s hear from the artists! (The interviews were conducted via email, and have been edited).

1. Jeff, you mentioned after the show that the structure of the play mirrored that of a video game. What do you mean by that, and how did it affect your work on this particular fight?

Jeff: From the beginning, as soon as we thought about doing a show for Fight Fest, I had video games in mind – probably because Nintendo is the closest I’ve ever come to actual physical violence. Still, one thing that I’ve always loved about video games, even more than the action, is the narrative hierarchy – the way they unfold with increasing difficulty and complexity from level to level. (I’ve always loved this in the aesthetic sense – as a player it often pisses me the hell off.) I knew I wanted to mimic that in the show by making each enemy the monkey faces more dangerous and unexpected than the last.

I also knew early on that someone needed to be in the air at some point – because why the hell not? – and that it was probably going to be Becky, with her dancer’s training, her petite frame, and the fact that I really didn’t care one way or another if she landed on her head and cracked her skull open. (Hope and I actually cast the show with people we wanted to work with and THEN figured out the details of the narrative – rather than the other way around)…

The music helped to shape the feel of the scene, needless to say. Even before we started rehearsals we had the entire show “scored” with preexisting tracks we wanted to use. The general musical theme Hope and I had in mind was indie rock instrumentals – we wanted things that were actual pop songs, with beginnings, middles and ends, that would be a couple of minutes long and fun to move around to. The piece we used for this number – “The End of You Too” by Metoronomy – was like manna from heaven – it had more of an 80s-arcade feel than the most of the other pieces in the show, but it was just so infectious and exciting – it made perfect sense to use as part of a fast-moving, gravity-challenged fight.

2.Talk about the soaring moment – what was the process in rehearsal of incarnating Air Spirit, and when did the lift with the Matt and Fred come into play?

Adam: Trial and error. 🙂 Jeff knew he wanted the Air Spirit to fly, and to make that a big part of the fight. So, it just became a matter of figuring out exactly how that was going to work in practice. We pretty much figured right from the beginning that it would require the work of multiple actors to make the effect happen, despite my insistence that a complex and expensive bungie system would be fine. From that point, it was a matter of deducing what the effect would be. At first, we toyed with having the supporting actors keep the Air Spirit aloft, hovering, for extended periods of time, but that proved ineffective and too difficult to allow for the actors to do the requisite storytelling. What was settled on was this sort of bounding action that, much to our delight, ended up being more energetic and compelling than the alternative…

Mateo: …the fight was choreographed up to the point where Becky would take off and fly. Knowing that we needed to really deliver the wow factor Jeff wanted, and to deliver something that was just as fantastic as the rest of the fight choreography, all who was involved (Becky, Adrian, Fred, & myself) came in early to one rehearsal. And it was one of those magical theatre moments where four minds literally completed each others sentences and thoughts and we figured out the entire fight sequence right there in a little over an hour. Jeff & the rest of the cast then came in, we showed him our full idea, and he loved it. After that, we showed Adam and Qui and they too approved. It’s absolutely one of my proudest theatre accomplishments to date…

Adrian: Becky’s an amazing dancer and actor and the best part about this scene, for me, was that we got to dance together. Adam came in and gave us fight choreography. Then he left and we just danced it. More so than the other fights, we were given the leeway to play with the song musically. In all the fights, Jeff wanted the structure of the song to inform the structure of the fight, but in this one he let us give in to the music and let it inform our movement. Also I think Becky and I were both just dying to dance a little. We ran with that feeling and found a really exciting rhythm and energy.

Becky: Aw, thanks, Adrian! I couldn’t agree more about the desire to just let loose and dance. I was so excited to have another fellow dancer to play with!

…Ultimately, as Mateo has mentioned, the majority of the piece ended up being born out of one rehearsal. We came in early and it was like a muse was speaking to us. We all started riffing off of each other’s ideas and in one night, boom! There was the entire piece, completed. I remember leaving that rehearsal feeling ecstatic.

3. One of the things I loved best about the fights was how well acted they were. How did you find all that detailed nuance among such furious fighting?

Adrian: Practice.

Becky: Yes, practice! Once you no longer have to think about the steps, then it’s no longer mathematical in nature, so you can stop thinking about it and just have fun. I got to giggle and bounce around on stage, so I really *was* having a great time kicking Adrian’s ass….well, until the end. I still disagree with the ending. Sorry, Adrian. 😉

4. The Air Spirit’s death is more brutal than the demise of the other three Spirits. How did that choice happen?

Becky: Jeff hates gingers.

Seriously though, I think the main reason why it seems like the bug got it worst was because there is a great story arc to the fight. It isn’t the minion who starts the fight in this one, it is the monkey. It’s the hero who tries to squash the bug without being provoked, which may add a layer of “vulnerability” to the character.

He did stomp on my head with relish, didn’t he? Bad monkey…

I still get teased for that little green outfit, by the way….