It is the smell of composted ingredients I notice first as I make my way along the passage. A blend of animal manure, rainforest mulch, leaf mould, washed river sand, and loam, giving off that warm garden smell. A mound of steamy soil, piled high in the Magdalen laundry of the Abbotsford Convent; a soil mix for holding moisture in a space still damp from its history. Soil might be a source of nutrients for growth, but in the dirt and dust and sadness of the laundry, its steam is overpowering on a humid autumn night.
Change the location, and a normally pleasing smell of pottering about in the garden alters how it is felt. This cavernous space is airless. I feel like I am being herded into a shed, like livestock penned in against the night and her predators, albeit gently, curiously, by a raft of smiling ushers who motion with torches “mind the cables,” “there’s room along the side wall.” Sand, sphagnum peat moss, perlite, overwhelming! Overhead, a moth crashes into the light. It flutters. I stand. There are not enough seats. (Earlier, audience members who most needed a seat had been asked to come forward.) Grass clippings, fungi, and bacteria! Vermiculite, from the Latin vermiculari, to ‘be full of worms,’ too. The urge to flee, or at least stand near to an exit is strong: I don’t want to put down roots here, in neither laundry’s past nor soiled, oppressive present.
And yet I do, for atop this mountain ‘full of worms’ sails Jill Orr. Majestic and unassuming, simultaneously. Both as assured captain of the craft and as a canvas for the audience to project their own thoughts upon. Legendary. Orr and her boat. Her surname alone, an oar, a navigational means, but I reckon she’d be pretty tired of hearing that. Presented by Dancehouse in partnership with the Abbotsford Convent as part of Dance Massive 2019, “emerging from an installation conceived for the Venice Biennale as a response to the terrible fate of asylum seekers arriving by boat to Australian shores, Dark Night explores the crumbling humanitarian ideals of a world in crisis. In this embodied installation, embracing the dramatics of scale, volume, tone, rhythm and movement, a series of images are performed.”