The Third Day Live: Autumn
I didn’t expect to watch TV on Saturday for 12 hours straight, but this was Punchdrunk.
I’ve been a fan of the experimental theatre companies’ work since their 2013 show The Drowned Man staged in a vacant sorting office in Paddington. I went with a very dear friend who knows her stuff and I clearly remember coming out, exhilarated, wanting to do it all over again and saying — “all theatre should be like that! Who needs stuffy velvet seats when you can follow the action?”
Another very dear friend reminded me I should book for “Sleep No More” on my solo trip to NYC three years ago. It’s a completely difference experience alone as you don’t have that worry of “where the f- is my friend”. I had a blast yet again.
For the uninitiated, attending a Punchdrunk show is a bit like trying to follow a story in realtime without the plot. One of the many clever parts is that the audience enters and are given a mask immediately, while the players are not. You are separated into smaller groups (although you don’t realise it at the time)then you choose your own adventure. You might follow the music or a sound and then end up in an intimate setting with the actors right in front of you. The masks are key so you don’t get distracted by audience members.
So I knew this experiment would be special: a 12-hour broadcast in one take, with one camera live from Osea Island, preceded by three hour-long episodes “Summer”.
I tuned in at 9.30 am to see that single-camera slowly traversing the now-familiar coastal track leading to the island which is only uncovered twice a day at low tide.
The lapping of the waves, cries of the birds and crunch of the gravel immediately located you there. The camerawork was unlike anything I’ve seen on a live broadcast - cinematic quality, and the sound capture was exceptional. And soon that single camera was covered in rain spatters.
My original plan was to watch for a few hours and then dip in and out. I ended up not being able to tear my eyes away from the screen, thanks to the incredible imagery and hypnotic sound. The coastal path scene ended with an old man collecting oyster shells and suddenly two hikers came into view from behind the camera, shocking me and most viewers.” The festival’s been cancelled” were the first words of dialogue spoken in almost an hour.
We followed the first characters as they made their way via a truck back to the village — three teenagers and the old man. The man muttered some unintelligible words to the youths and suddenly unfurled a sausage sandwich from its packaging. He toyed with a small metal object, turning to over in his hands — a talisman? locket? a token? It ended up being a salt container. Maldon of course, anchoring the story to the area and the sea.
I didn’t take notes throughout the unfolding drama which was probably a mistake — and I’m keen not to spoil it if you are planning to watch. But there are a few things that jumped out:
Most of the 12 hours were played without any dialogue at all, making this tantamount to an art piece. We didn’t hear all conversations, only the snippets that were important, giving the whole thing that voyeuristic observer feel. Sometimes the camera didn’t move at all. I was reminded of Derek Jarman’s Blue, Sam Taylor Wood’s David as well as David Hockney’s Woldgate Woods: Four Seasons and Da Vinci’s The Last Supper.
The timing of this could not have been more perfect: a grey October day in the UK and the perfect antidote to the current pandemic and news feeds. It was the ultimate meditation tape.
Although parts were tough to watch, this segment was not as visually nightmare-inducing as the first three episodes. The sense of foreboding was quite something though, built in that characteristic Punchdrunk way, through sound and visuals. One particular low tracking shot showing some of the festival preparation was quite something. “It can’t be”…ah thank goodness, no it isn’t”. Your eyes can play such tricks on you, if the storytellers are masters of illusion already.
The “stars” of the show Jude Law and Katharine Waterston didn’t appear until quite a way into the narrative, heightening the anticipation and excitement. Some characters we had got very used to in the first episodes didn’t appear at all.
The hashtag was trending on Twitter all day and it was great to gather snippets of information in real-time and see what other people hadn’t noticed as well as to pick up on clues.
The imagery and intensity of “Autumn” will stay with me for a long time. I’m really keen to see how TV audiences and execs can redefine the medium, especially during these times. I’m completely intrigued by a theatre/film/TV crossover. Most of us spend over 12 hours committing to a box set series in a snackable format — but what else can be created in one continuous take?
So why was it so good? I think because anyone tuning in was completely surprised by how the story unfolded. It was classic Punchdrunk with Osea Island as the performance space, playing a character itself. Somehow that grey October day was dialled up and the vibrant greenery and autumn colours shone through. Such a shame the actual original festival idea to partake as a usual Punchdrunk show couldn’t happen.
And I hope Jude Law never has to dig a hole again. He should win ALL the awards.
Bravo Sky, HBO and of course Punchdrunk.
