Richard DeDomenici: The Redux Project

Richard DeDomenici: The Redux Project

In 2013, live art performer and professional trickster Richard DeDomenici launched  The Redux Project, which he describes as ’my attempt to disrupt the cinema industry by making counterfeit sections of popular films.’

And so here he is at Norwich Arts Centre, presenting a show about the project for this enterprising venue’s [Live] Art Club, as part of the Norfolk & Norwich Festival. Like much of his performance work, it’s quite hard to pin down. As is his wont, it’s a kind of performance lecture illustrated with video clips, and peppered with a fair amount of witty commentary.

We are first given a run-down of The Redux Project. For the past couple of years, Richard has been making no-budget appropriations of Hollywood (and other) blockbusters. He re-creates a scene from a well-known film, shot by shot, using mates and volunteers and ‘resting’ actors. And – here’s the killer – he uses the original locations. So despite the toy cars that replace the real cars in the chase, or the slightly dodgy costumes sourced from the local fancy dress shop, we are immediately transported into the world of the film. It’s all about location, location, location.

My memory is pricked: I remember a community engagement project that Richard did in Croydon many years ago, in which he recreated Godzilla in the foyer of the Croydon Clocktower and Library. Making his own version of famous films has been brewing for quite a while, it would seem…

The Redux Project has taken him all over the world – The Bourne Ultimatum: Redux (Berlin), Terminator: Redux (Los Angeles), Fallen Angels: Redux (Hong Kong), Royal Tennenbaums: Redux (Harlem, NYC), Priscilla Queen Of The Desert: Redux (Sydney), Entrapment: Redux (Kuala Lumpur),  and Bangkok Traffic Love Story: Redux (yes – Bangkok). Plus Cloud Atlas, Matrix, Superman IV and a whole lot more I’ve never heard of. On Richard’s website  there’s a handy map with pins in, so you can look up all the project locations. His only worry is that he’s done so many now that he is actually getting quite good at film-making. Some of his redux versions are getting better reviews, and more stars, than the original films.

The Norwich show circles around a local project: Avengers Age of Ultron: Redux – reconstructing a scene which, like the original, was shot at the University of East Anglia’s futuristic Sainsbury Centre. Not only that, but one of the extras in the original is a star of the redux – and here he is in the audience! Richard invites him and a number of other people who performed in the redux up on stage with him to talk about their experiences. We also learn that Allo Allo and Dad’s Army were filmed in Norfolk, so they are on the cards for future consideration. Everything is fair game here.

But this isn’t a straightforward lecture on the Redux film project. Redux reflections and clips are intercut with flashbacks to previous DeDomeneci work (he likes to keep everything connected) – so we have some musing on the theme of imitation in his work, and specifically the fake versus the real in his Olympic torch project, in which he ran with an Olympic torch of his own ahead of he ‘real’ torch bearer, causing consternation on the streets of London or wherever. He’s thinking of repeating the torch project for the Rio Olympics but is a little wary of the armed Brazilian police force.

We also have another odd and delightful thread in the show, sparked by a story about the theme from Star Trek – originally scored under the title Where No Man Has Gone Before – which was written by Alexander Courage. Star Trek’s creator Gene Roddenberry apparently wrote a set of lyrics to the tune (never recorded) just so he could claim 50% of the royalties. Inspired by this, Richard has decided that he could make some dosh from writing (uninvited) lyrics to instrumental theme tunes and registering them with the PRS. He treats us to his version of  the Cagney and Lacey and Casualty theme tunes, singing live. His lyrics rival Roddenberry’s in their mediocrity. It’s typical DeDomenici lunacy – and it’s brilliant.

I often find myself getting lost in DeDomenici shows as the popular culture references pile in one on top of the other in a relentless barrage of wit and repartee – but I never mind, as I find his performance presence so refreshing and delightful. I could listen to him for hours, even if I don’t know what he’s talking about half the time. I end up feeling a bit like a granny propelled across a busy road I didn’t intend to cross by a very lovely young boy scout – but I’m grateful nevertheless. God bless you Mr DeDomenici –may you continue to redux, re-evaluate and review the world for a very long time to come. I’ll happily come back for more – anywhere, anytime.

 

This entry was posted in Reviews and tagged on by .
Dorothy Max Prior

About Dorothy Max Prior

Dorothy Max Prior is the editor of Total Theatre Magazine, and is also a performer, writer, dramaturg and choreographer/director working in theatre, dance, installation and outdoor arts. Much of her work is sited in public spaces or in venues other than regular theatres. She also writes essays and stories, some of which are published and some of which languish in bottom drawers – and she teaches drama, dance and creative non-fiction writing. www.dorothymaxprior.com