There Is No End To More
Directed by: Jeremy Wade
In collaboration with and performed by Jared Gradinger
Text: Jared Gradinger, Marcos Rosales, and Jeremy Wade
Illustration: Hiroki Otsuka
Video/Animation: Veith Michel
Sound Design: Brendan Dougherty
Dramaturgy: Eike Wittrock
Light Design: Andreas Harder
Set Design: Henning Ströh
Production Management: Barbara Greiner
Comissioned by Japan Society, New York
Coproduced by Hebbel am Ufer, Berlin, CCN Franche-Comte Belfort, Les Subsistance, Lyon
Supported by Hauptstadtkulturfonds, Berlin
This production--and Gradinger's demanding, non-stop solo--hit me with the force of a thousand-thousand stars... The work is rich, visceral, unforgettable.
—Eva Yaa Asantewaa, Infinite Body
Jared Gradinger, single-handedly commands the stage with his interpretation of a Geek’s ultimate daydream fantasy: a super hero battling the forces of evil.
A brilliant mash-up send-up of Japanese manga and kawaii (cute) culture... The charismatic and perfectly silly Jared Gradinger tiptoes, flexes, pumps his fist, moves like a robot, and otherwise makes believe with his body, evoking the childish and innocent, heroic and fantastic, and sexual and violent worlds of these popular art forms.
The well conceived and produced video, lighting, and sound, lend a polish to this commission by the Japan Society. The result is a rich blend of Wade’s scatological, sculptural modern dance with a barrage of pop culture. And Wade, who lives in Berlin, has found a stellar interpreter of this marathon solo in everyman Jared Gradinger, eyeglasses and all.
—Susan Yung, Thirteen.org
There Is No End to More takes kawaii culture as its jumping off point, but ultimately it is an examination of something much more universal, the grotesqueness and distortion of the world as only a child can view it. The piece affectingly captures the sensory onslaught and disorientation a of childhood lived in a consumerist culture, and the sadness and pain inherent in the experience of growing up that then gets projected onto the cute, fluffy, and pastel world in which we encase our children. Wade, in the talk-back after the show, stated that when conceiving the piece he set out to create to "a fucked up and sad children's TV show." He succeeded.
by Nancy Kelly
by Susan Yung Channel 13 NYC link
Jeremy Wade’s There is No End to More, through last weekend at Japan Society, is like being inside a restless web surfer’s brain for an hour. It veers from a fantasy narrative, to comic book, to variety show, to LOLcats and dogs, to speeches on community, family, and consumerism, to the end of existence. And Wade, who lives in Berlin, has found a stellar interpreter of this marathon solo in everyman Jared Gradinger, eyeglasses and all.
There is a roller coaster dimensionality within the multiple sections of the work, on the Japanese concept of “kawaii”—cute—which can morph into bizarre. The fantasy story that begins the piece (whispered loudly and creepily in a voiceover) shifts from rainbow-and-unicorn pastel imagery to intergalactic warfare. Gradinger moves frenetically through task-miming actions to simple physical punctuation, like punching fists or contorted poses. He wears fanboy clothes—cartoon-print boxers, a football jersey—and takes the mic to speak for parts. The production is so well-executed that voiceovers and live sections blend seamlessly.
Illustrations by Hiroki Otsuka, with video artist Veith Michel, move dreamily across a shaped screen (by Henning Stroh, who also did the Snoopy house-shaped lectern) in a continuous flow—drawn clouds, a “melty bear,” ghosties, a forest scene—to collaged pre-existing imagery of kitties, furniture catalogues, and an endless parade of everything in between, flickering like so many Google searches in a day.
Wade, as revealed in an interview with Movement Research, has in the past experimented boldly with the body itself as subject matter. Here it seems as if he’s disassembling the brain and its thought processes. The well conceived and produced video, lighting (by Andreas Harder), and sound (Brendan Dougherty), lend a polish to this commission by the Japan Society. The result is a rich blend of Wade’s scatalogical, sculptural modern dance with a barrage of pop culture. What begins as cute ends in a nightmare, of falling down and down, of an ever-shrinking character, of being sucked into a black hole (that happens to be a coffee table)—of the incredible capacity of our imaginations.