Review of ‘Go On Like This’: “Don’t play it again, Sam”

Performers Tim Etchells and Tony Buck join forces onstage through this alternative show blending poetry and percussion to paint a different picture of life, as well as creating a one-of-a-kind theatrical experience. Guillermo Nazara shares his views on the show, to let us know if this experimental recital is worth banging the drum for.

Art is subjective. That’s the first thing we’re taught about it. Or at least, the first thing we’re told when we, let’s say, disagree with what we’ve been presented with. It’s solid argument – there’s no question. But it’s true that we also find it leaning towards the Excuse Zone more than occasionally. I’ve heard a few times, particularly from the ones behind them, that there’s just two reasons for the public to dislike a work: either they don’t understand it, or they have instead stirred a feeling they are not prepared to deal with yet. But its’s not less accurate that, if they had put the same level of creativity into their pieces in the first place, maybe we wouldn’t be in this situation at all…

Much as this opening may seem a bit too abstract and existential (as well as bitter and slightly county -bear in mind I’m being formal…-), those were, in fact, my very concrete thoughts as I ventured into the Southbank Centre last weekend for a performance of Go On Like This. One drummer, one poet, one singular vision of life. A soft rhythmic cadence begins to unravel as the reciter commences to chant: two words, then three, then back to the former two, and so on, and on, and on… for ten minutes; then came another number, and another, and another…

It’s a style that’s not for everyone – that’s something to have consensus about. But one can’t either help but wondering who it is for, then. Every artistic concoction should be analysed with respect. And regardless of how little it may speak to us, we can always find (if done with sufficient care) some elements we can show appreciation for. Despite its over-repetitive tone, we can find beauty in the prosody that orator and musician achieve altogether – and that particular framework explains, to some extent, the use of so much reiteration. But it’s not enough.

Oeuvres that challenge audiences are always welcome – they are, in fact, the most stimulating, and can be the most entertaining too. But there needs to be a proper symbiosis between artist and viewer, which is only accomplished when the former puts noticeable effort into what they are introducing us to. In spite of its purported intellectual intentions, the whole rendition sadly appears to go for the same formula as a lazy TV comedy show, where long, and rather unamusing bits are constantly exploited following the “love it, hate it, love it” concept – relying more on our natural coping mechanisms than on providing something that’s genuinely engaging and able to offer us enough content to be taken by.

Parting from an ambitious, and quite intriguing notion, Go On Like This holds no brakes to its premise, by putting its essence to the front and utilizing its basics in every possible way. However, there’s a severe lack of elaboration, which prevents it from going anywhere beyond that germinal thought that’s still to be honed. There’s passion exuding in their act, apart from meaning hiding underneath. But none of those strengths are valuable (let alone, effective) should they not be accompanied by a more robust basis that keeps them afloat. It’s a stream of ideas that could actually turn into the most touching, honest reflection of the human journey. But as of now, they are yet to find their flow.

Go On Like This played as one-night-only performance at London’s Southbank Centre as part of the Forced Entertainment Festival. Further shows are available on the following link.

By Guillermo Nazara