Matthew Morris’s latest work, Until Falling Things Work, is an intimate and complex journey told through episodic-like chapters, where we see the artist in what feels like every form.
This deeply personal and vulnerable performance was born from “a renewed urgency to create”, as Matthew describes it, following an injury that took the dancer away from his craft. That sense of urgency is palpable as Matthew strips back every layer of himself and takes the audience into his pain and his joy.
Until Falling Things Work. Photography by Logan Ringshaw.
Mixing spoken word and voice-overs with swift, repetitive movement, at times the show reminded me of my brain when it’s hooked onto a pattern or lyrics, repeating them over and over again to the point of exhaustion. Matthew is sharp in his navigation of challenging verbal and physical content, a result of his impressive experience as a multidisciplinary performer.
Utilising the skills of Josten Myburgh to create the show’s composition was a perfect choice and brings Matthew’s vision and direction to life. Josten’s score is written and performed entirely with guitar and cello and leans into the audience’s sense of unease during the most challenging scenes. It transitions beautifully into an uplifting score for the final chapter, where Matthew pairs the music with his deep and silky vocals. At times, we heard no soundtrack or music, just Matthew’s inhales and exhales, which added another layer of proximity between him and the audience.
The ending of the piece is nothing short of cathartic, eliciting a feeling of complete freedom and ecstasy. Throughout, we see a person repeatedly trying, struggling, and exhausted, but a light at the end of the tunnel reveals itself for Matthew to step into and claim. This will be a performance for each audience member to consider what it means to them. Whatever the interpretation, Until Falling Things Work holds something within it for every human to connect to.
Until Falling Things Work is on at The Blue Room Theatre from May 13-16.