In The Cube: stage show from STRIKE

IN THE CUBE is based around Strike's trademark 'cubes,' an imposing scaffolding set adorned with a myriad of traditional and non traditional percussion instruments from cymbals and drums to dippaphones and hubcaps.

Five performers combine elements of theatre, dance, invention and rhythmic intricacy to create a powerful and imaginative production that has wowed critics and audiences alike.

Spectacular, inventive, high energy performance

With spectacular and inventive use of the elements of fire, water, air, earth and the steel of the cubes, and encompassing a broad variety of musical, choreographic and theatrical influences, the stage show is an "exhilarating and high-energy experience".

Staging

85 minutes, 5 performers

Bookings

Contact manager@strike.co.nz to book this show.

Strike's one-off show as part of the Fringe Festival was an 80-minute masterclass of syncopated rhythm and lithe group choreography.

2007 season: Wellington and Hong Kong

In the Cube won the BEST MUSIC award from the Wellington Fringe 07. "In the Cube is a testament to the skill and invention of all involved � performer, composers and designers. … inspiring."

In the Cube has been included in shows in London and Manchester, as well as the following events.

Melbourne Festival of the Arts (preimère, 1999)
New Zealand Festival of the Arts 2000 (several outdoor venues)
Cervantino International Festival, Mexico, 2001
Journees de la Percussion, Paris
Queensland Music Festival 2005
Taiwan International Percussion Convention 2005/6
Melbourne International Arts Festival 2006

Find out how STRIKE can enhance your event
021 478 271 or email

It's a seamless performance, rhythm being the template, but the creation of melody is hinted at through replication of minimalist rhythmic patterns. Xylophone and marimba motifs hint at sounds of Gemelan, large bass drum booms echo in the style of Japanese Taiko drums and every bit as important as the pulse is the variation in pitch and tone. It's the idea of the drumkit as orchestra.

Reviews

Dazzlingly Creative Taiwan

A night of powerful and imaginative performance
International Percussion News

Elemental Sound rolls out in striking display

The New Zealand percussion group Strike now features five members, though the group has performed in duo, trio and quartet configurations.

Celebrating 10 years as a theatrical group, evolving from a chamber-styled classical percussion group to a band of performers actively acknowledging mime and dance, Strike's one-off show as part of the Fringe Festival was an 80-minute masterclass of syncopated rhythm and lithe group choreography.

The Cube setting refers to the central stage structure — scaffolding from which various drums, cymbals and hubcaps hang. The scaffolding separates the instruments and give performers defined space to work in, but, being steel, it is also a physical part of the performance, both in its look and its sound.

The players strike the sides of their cage-frame, climb to the top to stand high while taking on log drums and weave in and around the various roto-toms and sound plates that dangle from its hinges.

Initially influenced by Sydney percussion groups, Synastry and Gareth Farr's Drum Drag shows, Strike's sound could also be compared to the off-Broadway show performed by The Blue Man Group and of course an easy reference point is the dance work of Stomp and Tap Dogs. But Strike's sound has progressed, as the groups' stage show has evolved, so too has the concept — that rhythm is elemental, evidenced by the group literally playing with fire (as well as air, wood and water) showing that nature affects the inherent, primal means of communication, and in turn can be channelled, using water to subvert the sound of gongs and large PVC pipes.

It's a seamless performance, rhythm being the template, but the creation of melody is hinted at through replication of minimalist rhythmic patterns.

Xylophone and marimba motifs hint at sounds of Gemelan, large bass drum booms echo in the style of Japanese Taiko drums and every bit as important as the pulse is the variation in pitch and tone.

It's the idea of the drumkit as orchestra - with movement between the instruments and the space created echoing the rests between the musical measures. Playing in pairs, this is a lovely syncopation that appears natural but is actually a hard thing to synchronise, add disciplined movement (and a bit of comedy) for the equivalent of a drumming as a martial art; very much influenced by Chinese theatre. Cicadian rhythms are strung out on a toy Slinky, and the members of the group add and subtract themselves as the pieces evolve, creating poly-rhythms that hint as jungle-dance music. Whistling, the scrape of a chair, breathing, fanning flames, the click of a Tui beer can and hand clapping — they are all presented as rhythmic sounds, giving colour and life to rhythm.

Break-beats meet the collages of abstract sound, sly jazz and hip-hop beats waft over marimba melodies, all built from the ground up, evoking that most obvious percussive sound, which drives everyone, percussionist or audience member, the sound of the very first drum: our heartbeat."
Simon Sweetman, Dominion Post, NZ, 2007

Programme notes

Awakening 4:30 mins (Murray Hickman) A birth of life. The Dawn of a new day awakes, players rise from the ground.

Doomsday Machine 6 mins (Michael Burritt) Motors, machinery and industrial factories are the backbone of this piece.

Rotos 4 mins (Murray Hickman) A piece that experiments with players rotating around the cube, with 1 upmanship playing the very distinctive "Roto toms".

Painting with Breath 7:40 mins (David Downes) This piece is ritualistic-like with moments of martial arts influenced movements, incorporating wind and the sound of air being played.

Elysium 5 mins (Steve Bremner) Derived from Greek mythology, Elysium meaning 'A place or condition of perfect happiness: Paradise'. This is a real crowd pleaser.

Cup Game 7 mins (Kristie Ibraham) Drinks at a social occasion turns in to a blast of rhythms and games and could end up in tears.

Slinkies 3 mins (Murray Hickman) Slinkies that used to flop down our stairs are used to make rhythms in a quirky way.

Ignition 4.20 mins (Murray Hickman/Tim Whitta) Fire, one of the four elements Strike incorporates in their show, makes this piece a concoction of rhythm and light.

Marimbyss 5 mins (Tim Whitta) Written for one of the New Zealand School of Dance's choreographic seasons, this piece was set to a beautiful duo of dance, and is almost a lullaby.

Little Sea Gongs 5 mins (Gareth Farr arr. Strike) Originally a dedication to both Murray Hickman and Jeremy Fitszimons Little Sea Gongs is one of the theme rhythms from Gareth Farr's orchestral work "From the Depths Sound the Great Sea Gongs".

Triplicity 7 mins (Tim Whitta) This piece is based around a night out on town starting slowly and excited, building to climax, then in time after, slows to reflect and come back to earth.

E riri ki te rangi 6 mins(Traditional Cook Island Rhythms arr. Strike) In this piece Strike have arranged traditional Cook rhythms and set them to their movement-based percussion style.

Water Bass'd 8 mins (Murray Hickman) Water Bass'd uses the natural reverb of water and its pitch bending qualities in this unique water piece.

Finale / The End 7 mins (Murray Hickman) As the title states this is the finale of the show and is non-stop rock from beginning to end.

Developing In the Cube

In the Cube developed from a concept of movement based percussion, emerging from the season of Smashing Sweet Vixen with the Royal New Zealand Ballet in 1998. Three of us were in a highly visual position on stage and composer Gareth Farr had us place the instruments as far away from each other as possible. The resulting effect was a captivating "dance" created by the movements of the percussionists between the instruments.

From this idea we developed our cubes which form the backbone of In the Cube. The cubes are large steel scaffolding structures that support an ever increasing number of percussion instruments in a variety of positions designed for maximum choreographic impact. Players climb, hang, run and play on the cubes themselves as well as the instruments. We premiered our first show on the cubes at the Melbourne Festival of the Arts in October 1999. A longer version was then performed at various locations in the New Zealand Festival 2000, all outdoor venues.

In March 2001, we brought the cubes into the theatre for a full length seamless stage show incorporating the cubes and introducing many new concepts. We introduced an elemental sub-theme to the show, playing fire, water, air, wood (earth) and the steel of the cubes. The pieces are joined by amusing interludes and we had a huge sound system and dramatic lighting. We took this show to the Cervantino Festival in Mexico, October 2001.