★★★★
Megan Margaret Moore inhabits Suzette, the epitome of the Hollywood starlet. Beginning with her ‘interview’ with Wade Madsen’s unseen director booming commands, we are transported into a dreamlike world. It’s a sometimes-nightmarish world, where dialogue becomes poetry, and scenes from the starlet’s life seem to mingle together. The move to a discordant song Suzette sings in the final scenes was genuinely haunting. Moore said the piece was informed by mental health advocacy, and there were moments that highlighted that with stunning clarity.
Moore’s movement is impressive, encapsulating the stresses on the body that being ‘a star’ involves. Max Sarkowsky’s sound design compliments the movement and tone of the performance, yet sometimes the reverb sounded like interference and it was hard to tell if it was intentional.
Olivia Pedroza’s composition isn’t just reminiscent of old Hollywood but is also infused with contemporary themes. It’s an ambitious debut from The Fettes, with Aly Byatt and Gloria Alcalá working with Moore to bring this idea to life.
It’s a short piece, but packed with imagery, so much so it may take several viewings to get the most from it.
