Loose, Wet, Perforated
(2010)
A Morality Play in Four Ordeals
for soprano, male soprano/countertenor, contralto, baritone, Bb/bass clarinet, soprano/alto saxophone, tenor trombone, percussion & electronics
commissioned by Guerilla Opera
premiered by Guerilla Opera in Sep 2011 (16, 17, 21, 22, 24, 25 Sep 2011 in the Zack Box at the Australian National University, Canberra, ACT, Australia
released by Navona Records on the album Loose Wet Perforated
reviewed in Press
Guerilla Opera’s 2016 production
“Why must I climb the greasy pole?” from Guerilla Opera’s 2016 production
Guerilla Opera’s 2011 production
audio: Spotify Apple Music YouTube
score available through The Australian Music Centre
duration: 70’
genre: Music Theatre
category: Ambrosia, Esoterica
Promo for Guerilla Opera’s 2016 production
Promo for Guerilla Opera’s 2016 studio recording
Loose, Wet, Perforated is a contemporary version of the medieval morality play, full of all the moral relativism which that implies. A kaleidoscope of genres- tragedy, comedy, self-reflexive farce, academic treatise, cheap erotica- it tries to make sense of a post-ethical, post-analytical world.
The story revolves around two very different characters, Loose and Wet. Loose is a force of nature, prepared to do anything to anyone to get what she wants, while Wet is something of an innocent, always sticking to what he believes is right. Through a series of ordeals, they vie for ascendancy within a Guild whose purpose and inner workings remain opaque. The dramatic focus is instead their shared ambition: to be 'made whole', or in other words, gain a sense of fulfillment from their closed little world. As the contest progresses, it is clear Loose's ruthlessness is eminently more effective than the piety of Wet. But is there a proverbial glass ceiling to Loose's rise? Will success or failure in this particular game result in anything more than success or failure in this particular game?
Parallel and perpendicular to this rivalry is the trajectory of the story's narrator-cum-commentator. Ze begins as the picture of impartiality: sexually neutral, a mere observer of the protagonists' actions and desires. As events unfold, however, a need is awoken in this individual, the need to belong, contribute, live. Perhaps unsurprisingly, ze is overtly drawn to Loose, whose naked lust for power is both seductive and energizing. Not only does this character increasingly sympathize with Loose, mirroring our potential investment as audience members, but ze ends up actively aiding and abetting her. Their fates thus become inextricably intertwined.
How exactly everything works out for these three is best left to the performance. Nevertheless, it is worth describing the end of the opera, which stretches beyond the narrative arc. Once all is said and done, we find ourselves in a state of déjà vu, with the repetition of the opening scene and the (re)introduction of characters. There is one major difference, however: while the same individuals are presented, their roles have been swapped around. This is final affirmation that the opera’s formal qualities – the stylized language and scenarios, the anachronisms of the setting – are mythic constructs, rather than misguided verismo. Even more significantly, the final scene acts as a concluding and transcending statement; that anyone, regardless of appearance or affiliation, could end up Loose, Wet or Perforated.
