OMEGA:OST by Michael Begg | Human Greed
The album contains original material featured in the blackSKYwhite production, OMEGA, directed by the formidable Dimitri Aryupin – and other material handed down through generations of performers associated with this mysterious circus. Formal release will be 31st July (the day that the show begins a 4 week run at the Edinburgh Fringe Festival) – but subscribers to the Omnempathy mail list and Human Greed Facebook page may receive the disk as soon as June 28th to coincide with the premiere at Glastonbury 2013.
There will be a Ltd edition featuring a second disk of material of which we actually know very little at this point. All we have to hand is that it features songs and jazz rags attributed to “Michael Begg’s Black Glass Ensemble”
Contributors to this include Little Annie Bandez, Laura Sheeran, Anne Dunlop and Sukie Smith
Sound wizard Michael Begg offers breathtaking sound collages… a dazzling, intriguing whole. Even after 10 spins this reviewer had goosebumps on his arms and a cold shiver running up the spine… indicating Begg as a fucking master of his craft. After listening, your perception of music and the apocalypse may never be the same
Beautiful and extraordinary physical performance by Marcella Soltan
Driven by the three-way powerhouse of soundtrack, lighting design, and physical action, what looks to be burlesque romp dissolves into something far more dangerous. Omega is a truly total theatre… thrilling, uncomfortable, scary.
You will emerge blinking into the daylight shaken and stirred. Be warned.
“Omega is a very welcome reminder of just how high [the] bar has been set… it is often impossible to believe that human beings can actually move like this. It is also rare to see a production as technically polished… Far more than a show: this is a true theatrical experience.”
This Pandora’s box of bizarre and sinister images takes place at the rather un-cabaret-friendly hour of 2.35pm, and may leave you wondering what exactly it was you consumed for lunch.
a circus of horrors series of vignettes that vamp up their disturbing qualities to hysterical proportions… the cast demonstrate mesmerising nuance and skill… Flashes of arresting innovation.
There are unforgettable moments – the spiders that weave reality, the manic energy of the two chorus girls and
the final image of a lurking, sinister entity… A tableau of the Biblical story of Holofernes and Judith is erotic and disturbing.
Exhilaratingly gripping… a must see… but be warned, even the most intrepid fan of the gothic may find the characters stay with them a little later into the night than they would like.
A black, bleak mash-up of turns set to a full-on score by electronic composer Michael Begg. There’s smoke and contortions, a two-headed crooner, a dancing skeleton, and a frenetic nutcase with a feather on his head. Think Tod Browning’s Freaks crossed with David Lynch’s Eraserhead. I bet Madonna will put some of these tricks into her next tour.
JANET STREET-PORTER, INDEPENDENT ON SUNDAY
OMEGA Only a Russian company (blackSKYwhite) would offer such apocalyptic cabaret pleasures. Dark, unsettling and stunning.
THE LIST (TOP 5 CABARETS OF THE FESTIVAL)
At their best, the Russian bogey-clowns can corkscrew into your brain with impossible images, needling rhythms and enervating repetitions. Their tonal control is exceptional, their physical skill quite astonishing and their grasp of image and illusion world-class.
We were intoxicated, mesmerized and in awe
I have never seen a show with a more palpable hostility towards its audience… agonizingly loud (half the audience left; the other half cowered with fingers in their ears), grim and grotesque, intentionally obscure to the point of contempt… The production conveys nothing but sheer hatred for its audience.