![]() All of the, already limited, plot development of the show takes place in this film, leaving the live performance to form a vestigial happening around it. Taken as part of the whole, it feels misguided. A first year film school indulgence pretending at depth, revealing its own shallowness. Taken on its own merits, the film is well shot, but dull. Portal’s presumed deeper meaning is deeply incoherent. On his way he is followed by death and meets his inner child. #Guitar shed portal tv#He appears to be a victim of metropolitan lifestyle, having to shed the lies of business, Blackberries, TV and fancy suits in order to continue his pursuit. In the show’s film, a man (Dante) pursues a woman (Beatrice) through majestic desert and alpine landscapes. This feels purposeful, but leaves the audience alienated and without a way to identify with anyone on the stage. Between it’s idealistic Burning Man pretensions, clean-cut non-denominative new-age psychedelia aesthetic, and a lowest common denominator allegory of modern life, The Portal simultaneously tries too hard and does nothing all at the same time. Furiously talented performers are wasted on this show that has no substance whatsoever. The effect is often technically impressive, but rarely conveys any kind of meaning or story. While all this is happening, astral VFX and pre-recorded film (starring Christopher Soren Kelly, Zarah Mahler, and Joey Calveri) fill in screens at the back and side of the stage. He is joined frequently by percussionist Gilly Gonzalez and guitarist Paul Casanova, who augment the show’s music with their impressive live stylings. chants his way through partly live, partly pre-recorded music while Marija Juliette Abney, Jessica Aronoff and Nicole Spencer expertly dance and contort about him. An audience, however, is hard pressed to take any of this away with them. A rock odyssey, an immersive performance experience, a shamanic journey of transcendence and empowerment. ![]()
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