A Slight Ache by Harold Pinter
If Theatre presents
A Slight Ache by Harold Pinter
Directed by Matt Scholten
Featuring Lawrence Price, Lou Endicott and Troy Larkin.
2006 VCA directing graduate Matt Scholten’s new theatre company is about to debut with Harold Pinter’s A Slight Ache. It’ll be on from June 28 for a very limited time at Chapel off Chapel.
Tickets are $20/$15.
Call (03) 8290 7000 to book and for more details, visit:
chapeloffchapel.com.au or iftheatre.blogspot.com
Melbourne International Film Festival 2007
Melbourne International Film Festival
25 July - 12 August 2007
The motto this year is “19 days only”, but that number doesn’t do justice to what MIFF brings to town. Unless you’re an insomniac cinephile with no family there’s no way you’ll see everything that’ll be on offer, but that’s hardly the point. Selected festival highlights have already been announced and there’s enough juice in them alone to whet my appetite for endless hours of darkened theatres, line-ups in the winter chill and the possibility of sitting next to a video-geek who hasn’t showered in the last three years. Small prices to pay for the latest films from Werner Herzog, Aki Kaurismaki and Lars von Trier. Or if Northern European auteurs don’t do it for you, there’s a wealth of new African films, a focus on Israeli cinema, and a film on legendary photographer 
Robert Capa to go along with the buffet of other offerings.
Watch out especially for the as yet unannounced inclusion of The Tragedy of Hamlet, Prince of Denmark, produced by Poor Man’s Theatre Company. You heard it here first, folks. This brilliant new film has VCA connections coming out of every lens: director, producer, actors … and though there’s no record of Shakespeare being alumni, there needs to be more research done on that front. We’ll be having a chat with the Poor Man’s Theatre in the lead-up to the festival, so stay tuned. What’s more, we’ll be sending more reviewers than ever before to MIFF to make sure that Spark is the de rigueur website for anyone choosing their sessions wisely.
Ice Cream
Ice Cream
When it comes to art books, Phaidon is one of those publishers that make aesthetes salivate and bookshelves buckle. One of their latest offerings, hitting the shelves later this month, is Ice Cream. A worldwide survey of contemporary art that, with the help of ten curators, has whittled down the vast cosmos of contemporary artists to present the works of a hundred of those deemed the most exciting. The cover of the book is something of an artwork itself, with enough reflectivity and blingy chutzpah to burn down a Roman fleet.
Having been sent only a preview pack, we’re already impressed. The book opens with an 8-page virtual conversation between the curators as they debate the changing role of the curator, their relationships with artists and their role in the development of contemporary art. The subsequent 400-odd pages are given over to the artists and, judging by the excerpts we’ve seen, there’s some hot stuff. Each curator has selected ten artists who they feel have either emerged internationally over the past five years (without major institutions catching on), or are still relatively unknown. There are no rules as to age, geography, or media. The result is an eclectic patchwork of what the art world is into right now — a kind of 5-year snapshot of the contemporary art scene, probably holding the names of future megastars (previous editions outed Maurizio Cattalan, Tacita Dean, Olafur Eliasson and Thomas Hirschhorn, to name a few).
So, whether you’re looking to make your studiomates viridescent with envy, need to find something that’s sexy and tax deductible or just need a 3kg bike reflector, then Ice Cream might just fit the bill. Look out for our full review when we get our hands on the real thing.
Melbourne Jazz: Herbie Hancock/Chick Corea
A flavourful, colourful and vibrant Herbie soup, to paraphrase the man himself, is what was served up at Hamer Hall on the opening night of the Melbourne Jazz festival 2007. There was a buzz in the air as people milled on St Kilda Rd and, looking around, one could play spot-the-Melbourne-jazz-musician, such was the size and calibre of the audience.
Hancock delivered us a piece of theatre, along with Vincent Colaiuta on drums, Nathan East on bass, and Lionel Loueke on guitar. He opened with an ambient tune, making use of his keyboards and laptop, and possibly putting a little fear into the audience that this was to be an introspective experimental night. But his banter with us put that apprehension to rest. He came across as a generous, fun-loving man who loves playing music for an audience. And it was fun for us! It felt like a jam, and he wasn’t embarrassed to play his hits. Sly and Watermelon Man from his 1973 album Head Hunters featured, as did two songs from his latest album Possibilities, which has a strong pop flavour and showed off Nathan East’s impressive vocal skills. Lionel Loueke played us an African tune from his homeland, which was soulful and powerful and possibly the musical highlight of the night.
Given the range of songs played, and the strong audience-centric vibe, I had the sense that I was attending a variety night. I was nearly expecting him to then introduce Vinnie Colaiuta tap dancing, or a hoop-la act between him and East. But Herbie went one better! He introduced Chick Corea, and we were treated to the sight of two of the world’s best jazz players jamming together, first with Corea on the piano, and Herbie on his keytar and then, luxuriously, on two grand pianos, playing the jazz standard On Green Dolphin Street.
Hancock is a skilled and seasoned performer, who understands and encourages the audience’s surprise when Chick Corea joined him, and the absolute joy when the second grand piano was wheeled on stage. The tone of the night was summed up by Hancock beginning the encore of Chameleon on off stage on his keytar. Purists may have been disappointed but as the opening night concert, it was a very fun night.
Then we headed off to Bennett’s Lane, in the slim hope that we would be able to get in to Chick Corea’s worst-kept-secret-gig and we were in luck! And what an amazing gig it was, seeing a grand master of the industry up close and in the flesh. This gig was the second rehearsal with his band, and it created an electric atmosphere. The interaction and intensity of his band was a pleasure to watch - wunderkind Tal Wilkenfield on electric bass, Frank Gambale on guitar and Antonio Sachez on kit. The obvious enjoyment they were having in creating the music was infectious. Every time there was eye contact, faces would break out into wide grins.
Corea was the epicentre of all the interaction, moving seamlessly between the grand piano, a Rhodes and two other keyboards. He was actively involved in everyone’s solos, grabbing onto ideas and feeding the other musicians ideas. The feeling was of a group of players collaborating to create a piece of music bigger than themselves. Corea never took a back seat, even when he wasn’t playing he was listening intently.
This gig has a mythical feeling to it, as I recollect it, the intimate setting and its exclusiveness and spontaneity propelling it onto my “best-ever-gigs” list.
Focus: Michael Haneke
Funny Games and
The Seventh Continent by Michael Haneke
Out now through Madman Entertainment
German-born filmmaker Michael Haneke is on the verge of being catapulted out of his role as the pin-up for European art-house cinema into the glaring limelight of Hollywood. He is currently remaking his 1997 film Funny Games in the US with Naomi Watts, Tim Roth and Michael Pitt adding their box office clout to proceedings. This follows close on the heels of his worldwide success with Caché, which won him best director at Cannes in 2005. The clever kids at Madman know an emerging market when they see it, and they’ve just released Haneke’s debut feature The Seventh Continent along with the original Funny Games on DVD to expand their existing directors suite.
It was the French old-wave master Jean Renoir who said, “A director makes only one movie in his life. Then he breaks it into pieces and makes it again.†In the case of Michael Haneke, this is true beyond question. There will be a bourgeois family. He will be called Georg. She will be called Anna. There will be a child. They will appear content. Tragedy will ensue.
Having studied philosophy, psychology and theatre at the University of Vienna, Haneke is an unabashed intellectual of the modernist era. His capacity to engage an audience in a rapt act of spectatorship while at the same time questioning the very nature and consequence of that spectatorship is second to none. The complex and immense psychological stakes of his films haunt viewers long after the popcorn gets swept off the floor.
His silver beard and floppy hair have the majestic assuredness of an Etruscan marble and his films reflect it. For a debut, The Seventh Continent is scandalously confident filmmaking. It is the first of a series of Austrian films that Haneke made (ending with Funny Games). If we take them as a guide, there seems to be something very rotten in that Alpine republic. The eponymous seventh continent is ostensibly our very own Australia. But that’s a fact devoid of meaning in the deracinated anti-landscape of this film. From the very beginning of the movie, Haneke refuses to locate us with respect to identity or place. We have only a micro sense of the world which Georg, Anna and their daughter Eva inhabit. In close-up after close-up we are inducted into the vocabulary of their world: routine, conformity, facelessness. In this world, Australia is not a real place, nor is it even a mythical place, it is simply a poster. There is a rupture in the semiotics: the signifier and the signified are unrelated. How can one find reason in such a world? How can one find purpose?
Well, Georg and Anna can’t. And therein lies the source of their eventual self-unravelling tragedy. What marks Haneke as a modernist filmmaker in all this is his capacity to remain at one remove from the action in the frame. As the tight societal structures that have bound the family together are unhooked one after the other, the camera’s tight structures never waver. Only at the very end does Haneke allow a flurry in the rhythm. But the camera remains a viewer, a voyeur. The Seventh Continent is lit almost entirely in the blue-greenish sheet of fluorescent bulbs and the clinical chill of this light gives the sense of a laboratory (both Georg and Anna work in white coats). Indeed, even when the shots are from the point of view of the character, there is something dispassionate about the gaze, as though the characters themselves are just as removed from their own reality as we are. In a world defined and shaped by the impersonal spectres of machines, mass-market consumerism, television and numbers, everything is a simulacrum and our watching of the film, merely an extension of this.
This propulsion of the film beyond the frame and into the audience is taken even further in Funny Games. I can mark it as the most terrifying film I’ve ever seen—watching it alone is a risky outing. It could make a wickedly misanthropic double-bill with Gillo Pontecorvo’s Battle of Algiers—the latter being the best film about terrorism in a city, the former being the best film about terrorism in a country house (Straw Dogs notwithstanding). And for fans of the recent The Lives of Others, the stellar acting of Ulrich Mühe is also on display in Funny Games.
While The Seventh Continent operates in a way that makes knowing the ending no handicap to a rewarding viewing, I think part of the brilliance of Funny Games is the way it toys with audience expectations, so I won’t go into an analysis of the film for risk of spoiling it. Suffice to say, Funny Games contains some truly remarkable moments of cinema.
Back to the notion of the film extending beyond the frame, it is not often that an actor can turn to the camera without comic effect. However, Haneke uses this conceit to implicate us, as viewers, with regard to the violence on screen. At the point when we are most vulnerable, he turns the lens around and we are suddenly forced to look at ourselves and examine what we enjoy watching. It is sickening and revelatory. It is a filmmaker viscerally conscious of his medium’s interplay with the audience.
It will be fascinating to see how Haneke adapts his original for an American setting. In the meantime, get hold of the original on DVD.
Wim Wenders on Film Giveaway
Wim Wenders on Film
Out now through Madman Entertainment
Reviewed by Aleks Radovic
What we have here is a DVD triple ‘Wim’ pack stacked with three films from director Wim Wenders. They include Lightning over Water (1980), Where Wenders helps his friend and mentor, the terminally-ill Hollywood director Nicholas Ray (Rebel without a Cause) to complete his final film. The State of Things (1982), a fictional journey of a film maker who is stranded in Portugal with a full crew but no film in his camera and his backers mysteriously go quiet. In essence a doco of Wims life during his first US film, and A Trick of the Light (1995), which deals with the birth of cinema in Berlin, where the Skladanowsky brothers brought the “Bioskop†to the people of Berlin.
These are classic films from Wim and provide a highly informative way of tracing his development as a filmmaker. This particularly applies to those interested in Wim’s documentary films and formulative films early in his career. One for the fans.
Competition info: And, if you are a fan of the Wim … I once fell in love watching Paris, Texas so I definitely have time for him … then dust off your wings of desire, call up your American friends and let us know why you love the Wim in 100 words or less to win a copy of this magnificent 3-DVD set. Send your entries to comps “at” vcasu.org.au with the subject line Wenders. Entries close July 30.
Gothic and Lolita
Looking through the images collected in Phaidon’s Gothic and Lolita, its quite hard to be moved. The Japanese boys and girls, for they are mostly teenagers and early twenties, stare with a practiced vacancy, or a dreamy ‘tea and cake’ quality. They are a presentation, and they passively show themselves to their audiences; not as performers wearing a costume, not as avant garde artists making challenges to how we think; not as punks anarchically rocking the system. They are icons — or at least iconic — much like the Gloomy Bear / Hello Kitty / Emily the Strange / take-your-pick kawaii hanging from their bags, phones, necks, ears, shoes, wrists - and so on.
I adore it. It’s all so careful, so intricate and beautifully done; you can see the echoes of a million tea ceremonies past in each meticulously placed hair-pin (twenty of them, in a rainbow). While it seems incongruous for a society so renowned for its conformity to offer up such other-wordliness, but the aesthetic on display in Gothic and Lolita is not so much a reaction to the mainstream traditions but a development of them. Some would say the Gothloli (gosurori) movement began around 1998 but most gothlolis would disagree with this and I’d support them. What they’re aiming for, and living, is something more timeless:
“To be Lolita is to live in a world of one’s own creation. It is to recapture that child-like sense of wonder and joy at the pretty little things in life and fulfill one’s own dream of elegance and femininity. When a Lolita puts on a dress bedecked with frills and bows, ties a ribbon in her hair and steps into her mary janes she is throwing off the mantle of adult responsibility, all her worries and fears melt away and she may smile again, like a little girl and walk with a spring in her step, taking pleasure in life itself, the floral scents of the garden, the sweet drop of tea apon [sic] her tongue… Lolita is waltzing to a different tune.” ~ Fatalfille
For those within this subculture, what they do is an entire way of being; certainly not a fashion trend. Gothic and Lolita explores this well, by showing us not only the gothlolis in the public domain of the street, but also within the intimate space of their own homes (usually bedrooms). The photos remind me of Diane Arbus’ portraits. They are disarming in their directness and voyeurism, and some viewers will find it difficult to resist looking at these people as little more than a freakshow. Indeed, for some that’s all the book might be - a vicarious (albeit thrilling) glimpse into the exotic. But for those willing to peer a bit closer, there is a personal and exceptionally human element to every one of the gothlolis.
Panda Bear: Person Pitch
Panda Bear
Person Pitch
Panda Bear is the solo project of the Animal Collective’s Noah Lennox. Warm and fuzzy, this album is the sound of spring light at dusk. It has the velocity and momentum of a contemplative train journey, evoked by a gentle click-clack at the opening of Take Pills, which appears to accelerate and slow depending on how near the passing objects are. Samples and instruments seep in and blend, harmonies are found and then developed, and we are always moving forward in some way. Lennox’s vocals, rich in reverb, take on the honeyed tones of Brian Wilson. Person Pitch arrives on our shores already hailed as a masterpiece. Pitchfork, the most influential new media outlet, gave it a 9.4, which guarantees notice and canonisation, if not massive sales. But behind the hype lies not a fluke of precocious genius, but tightly crafted and honed music with a beauty and scope that is unlike anything else around.
Checklist for an Armed Robber
Checklist for an Armed Robber
By Vanessa Bates
Director: Chris Bendall (Theatre@Risk)
With Paul Ashcroft, Ryan Gibson, Natalia Novikova and Edwina Wren
Playing 10th May - 27th May @ The New Ballroom, Trades Hall, Lygon St, Melbourne
Review by Elisa Ghisalberti
Theatre@Risk’s latest production is Checklist for an Armed Robber by Vanessa Bates, currently playing at Trades Hall. Bates’ play was shortlisted for the 2006 Victorian Premier’s Literary Award, the ANPC/New Dramatists Award and the Griffin Award. The radio play won an AWGIE in 2005.
The play is set over a weekend in 2002 when Chechen rebels took hostage an audience of Russian theatregoers in Moscow. During this same weekend, in Newcastle, Australia, a young man attempted to hold up a book seller. The story is told in a non-linear way, moving between the well-known take over in the theatre and the lesser known hold up in Newcastle.
Unfortunately, the production never quite escapes the feeling of staged radio play, with all the actors having to narrate the majority of the action rather than showing it. A large percentage of the dialogue is exposition, which would have been more interesting had it been presented as action between characters.
The four actors all play multiple parts, with Edwina Wren in particular switching between accents comfortably. The set is simple yet beautifully detailed (I had to suppress the urge to browse the bookshelves) but, like the action on stage, it is underutilised. The soundscape, whilst very slick, is too portentous, signifying the events that will unfold and therefore muting the dramatic tension the play needs.
Where the play manages to transcend simply being the recounting of detail is in the interaction between characters, particularly two female Russian hostages (as played by Wren and Natalia Novikova) and the Book Seller and the Young Man (Wren and Paul Ashcroft). These scenes humanise the characters and lift the play into the theatrical dimension.
The content itself is fascinating, including the meta aspect of being part of an audience watching another audience, and I wish more could have been done to open the material for the stage. Whilst the idea of terrorism close to home has become the hot topic, Bates manages to draw comparisons between the situations without grandstanding or moving into didacticism.
The director Chris Bendall should be congratulated for not shying away from provocative, interesting work (Theatre@Risk’s previous production this year was Tony Kushner’s epic Homebody/Kabul). However, Checklist for an Armed Robber needs further development to be fully realised as a piece of theatre and not a play for voices.
OT : Chronicles of the Old Testament
My first encounter with Uncle Semolina and his friends was almost two years ago, when I saw the restaging of Gilgamesh for the Melbourne International Arts Festival. In a double bill with Suitcase Royale’s debut, Felix Listens to the World, the two pieces shared the Fairfax’s stage and low-budget credibility but differed in most other ways. Where Felix was ornately lo-fi, whimsical and a little too cute and earnest for its own good, Gilgamesh was dirt raw, viscerally engaging and both gleefully ironic and epic. This difference came partly from the performances of the Uncle Semolina crew, all highly-trained actors, and partly from an overall engagement with language and meaning that Suitcase Royale’s nevertheless beautiful piece only touched on.
In Gilgamesh, the set was a sandpit and the actors, playing with toys, took on the persona of the child at play — concentrated, impulsive, capricious and violent. By embodying these qualities within an adult, they become dangerously unbounded, sexualised and far from adorable. The result is a theatre not of psychology but of brutal reckoning, leavened with lashings of humour and rock-out fun.
In OT, the starting points are the same. The set is walled in by patched cardboard, like a dishevelled cubby built in the wake of a new family fridge or washer (question: for the Lacanian amongst you, when do children lose interest in wrapping and focus on the contents?). Strewn across the floor are more toys than a spoilt child would ever desire along with four young actors and one old man (who, it turns out, is also an actor). As in Gilgamesh, the toys become characters, props, missiles, landscapes and musical instruments. The actors too become part of the toy environment: dressed up and down like dolls, manipulated by their “playmates” and abused by the ferocity of the stories. This is par for the course, I suppose, when dealing with Yahweh, the vengeful God of the Old Testament, who smote and plagued his way into our cultural subconscious. We are but playthings eh?
As I watched OT, I was reminded of a Jacques Lecoq actor training exercise that I’ve undergone myself. The exercise, “the childhood bedroom”, asks the actor to revisit and rediscover their bedroom as it was. There is an interplay between remembered past and the present; a rediscovery of what is known and the possibility for imaginary leaps within that. As it turns out, original thoughts in criticism are hard to come by these days, because Tamara Harrison mentions this exact exercise in her program notes. But I do have a slightly different point to make, which is that the Lecoq exercise, while being witnessed, is always on the verge of being not for the audience so much as for the actor. And, unlike in Gilgamesh, this production has a tendency towards indulgence that can shut out the audience from the actor-toy dynamic, deadening the storytelling.
Striking a similarly indulgent note is the often-vociferous nature of the acting that flattens out the dynamics of the piece and makes it harder to enter into than it need be. Nevertheless, there are moments where the performances find every nuance and every vulnerability in the precarious lives of the characters. There is also something exciting about seeing young performers throw themselves so self-debasingly physically into a work of theatre with regard only for the overall outcome rather than personal ego.
OT is a brand new show that feels like it stills need refining. Some of the stories, notably Onan’s, seem like padding or the remnants of workshops from long ago. Similarly, the repetition of “next story” ends up feeling like a contrived segue that adds to a disparate, episodic tone rather than a nifty bit of meta-theatre. There are only a few occasions in the first half where the stories are the basis for theatrical and imaginative extrapolation. About half an hour in, when Amelia Best, telling the story of Jacob and Esau, adopts the Playschool tone of rhetorical questions (that aren’t really as tongue-in-cheek as they seem) it is the first time that the audience is directly engaged and one realises how much more fun that can be.
Uncle Semolina (& Friends) are brash and intelligent theatre makers. OT is as energised and frenetic a work as you are likely to see at the Malthouse all year (Tense Dave notwithstanding). And while I feel it still has a way to go, its blend of anarchy and storytelling, philosophy and fleshy humanity can be thrilling.
OT: Chronicles of the Old Testament
Devised and Directed by Uncle Semolina (& Friends): Christian Leavesley and Phil Rolfe
Cast: Amelia Best, Phillip McInnes, Luke Ryan, Peter Snow, Katherine Tonkin
Lighting Consultant: Paul Jackson
Exhibition: Rules of Engagement
Rules of Engagement at West Space, Melbourne (25 May- 16 June 2007)
Gabrielle de Vietri (Aus), Danius Kesminas (Aus), Azlan McLennan (Aus), Dane Mitchell (NZ), Patrick Pound (NZ), Antoine Prum (Lux): Curated by Mark Feary
Featuring the talents of VCASU’s very own Azlan and a stellar cast of young contemporary artists, Rules of Engagement is a provocative visual art exhibition examining relationships, power and exchange within the art system. It is concerned with the communication between various stakeholders within the arts industry and how positions are negotiated, especially in relation to how artists define their role within an industry that has amassed, and continues to proliferate, around their creative output.
This article continues, click here to read on…
Platform exhibition: In House
Starting tomorrow, Monday May 7, check out the artist-run exhibition space Platform in the Degraves St Subway to see work by recent VCA Production graduates. Period style interiors will be built in miniature and installed throughout the subway cabinets to accompany a collection of new paintings by artist/curator Christina Hayes. This article continues, click here to read on…
Lisa Miller: Morning in the Bowl of Night
Lisa Miller
Morning in the Bowl of Night
Lisa Miller’s most accomplished album to date is dedicated to the memory of her late mother. Across all eleven tracks, Miller finds musical beauty: evocative and elegiac in its wistfulness, plainspoken in its sense of loss. The album, presented with photos from the family album, exudes the lambent glow of nostalgia, with the harmonised vocals of the opening track Upside providing a qualified hopefulness. The best track to my mind and the key turning point of the album comes with Point Ormond, an effortless and openhearted song that finds the vastness of grief in the details of a life left behind.
ACO Enchanted Tour
The Caltex ENCHANTED tour
3 – 18 June 2007
Richard Tognetti, Artistic Director and Lead Violin
Mike Kerin, Fiddle
Danny Spooner, Traditional Singer
Traditional singer Danny Spooner and fiddler Mike Kerin join Richard Tognetti and other members of the ACO for a concert of surprising contrasts and enchanting discoveries. The program moves from folk works, whose history is so old as to be unknown, to Brahm’s first Sextet. This article continues, click here to read on…
Melbourne International Animation Festival 2007
Melbourne International Animation Festival 2007
19-24 June 2007
Australian Centre for the Moving Image (ACMI), Federation Square
Tickets available from ACMI box office
The Melbourne International Animation Festival (MIAF) returns to ACMI with an exciting, intriguing, inspiring, sometimes controversial, thoroughly comprehensive collection of animation from 19 to 24 June. The best, new animation in the world will be brought to Melbourne audiences with over 300 films presented in a series of amazing programs and satellite events.
Since its inception in 2001 MIAF has grown significantly as an annual event and enjoys increasing international respect and recognition as one of Melbourne’s largest screen culture events and one of the world’s largest animation festivals. This year over 2,200 submissions were received from all over the world! This article continues, click here to read on…
The Science of Sleep
When McG started producing the television search for a new Pussycat Doll, it was the last nail in his coffin as the world’s hottest music video maestro. So, that title can now belong rightfully to the far more talented and far more whimsical Michel Gondry. Following up his success with Eternal Sunshine of the Spotless Mind, he’s grabbed two ridiculously sexy actors and put them in a film which involves dreams, love and whimsy … so he’s clearly not steering too far away from a winning formula. Look out for our preview of the film soon.
The film opens in Australia on May 3 and, to both celebrate this fact and remind us all of our poverty, Spark gave away 5 double in-season passes. Yes, that’s right, we practically guaranteed you the perfect date with that cute boy in music improv or that gorgeous girl in dance. All you had to do was get the guts to ask them out (go on!). Oh, and you had to win the double-pass by sending us your most memorable dream. We got snowed under by half-arsed responses from people who seem to be professional competition entrants, but amongst the dross there was some gold. One of our personal faves came from T. Hirotaka:
It was me taking a bath. I was at least 60 years old, sitting in a bathtub.
I turned a tap to adjust water temperature. But there is no water came from the tap. Then with strange noise, one sardine turned up from the tap. I caught and ate it. It was flesh and tasty.
I turned the tap wide open. After a few seconds, it was salmon. I punched him to make him unconscious and took his guts out and ate rest of him.
With another big sound, the tap had exploded and I saw a tuna fish. I finally managed to knock him out by rubbing shampoo into his eyes with washing brush. I ate him too.Suddenly my body was sucked into the bottom of the bathtub. The bathtub became like 25m size swimming pool, and there were a lot of fishes, shellfish. They were too many of them. I was almost squashed by them. So I opened my mouth and started swallowing some of them to make some space to breath. Now the bathtub is filled with full of seafood. The pressure from fish and shellfish was getting intense as if I became one type of seafood. Then I accidentally swallowed one monster squid. It was too big to swallow. I was suffocated and died. My last supper was raw squid. I am glad about that.