News, analysis and comment - performing arts

Asher Treleaven: Matadoor

By Taryn Pollock artsHub | Tuesday, April 05, 2011

Riding the wave of success generated by his Age Critics’ Choice Award-winning 2010 Melbourne International Comedy Festival show, Secret Door – a playful take on his own masculinity wherein Treleaven presented himself as a “sexually ambiguous saviour,” – self-described “middle-class white guy” Asher Treleaven returns with a new show, Matadoor.

This year’s performance sees Treleaven assume the persona of a Spanish matador, donning an imaginary red cape, “possibly the worst Spanish accent ever,” (to quote the man himself) and clothes reminiscent of “an Italian fascist circa 1995,” that deliberately fail to mask a protruding set of enlarged genitalia. This costume sets the visual foundations of Matadoor, a comically cerebral, “vaguely Spanish-themed” discussion on post-modern racism; a theme born of Treleaven’s baffling, chance encounters with a range of “white Australians” in the last year.

Racism is, without doubt, a loaded topic, taboo even, given its propensity to engender rage and disgust, and as a consequence offend those that oppose it, or conversely, encourage those that practise it. However, Treleaven has successfully managed to piece together a coherent 60 minute comedic rant about racism – which these days is all too often masked as patriotism, he notes – that scratches the surface in a non-offensive, partially politically correct, yet socially acceptable fashion.

Discussions pertaining to the concepts of diversity and tolerance are artistically interlaced with examples of social manifestations of ‘white-collar racism,’ racist slang, and the familiar physical actions of past dictators, all of which would normally make you cringe and send shivers up your spine. Added to this is Treleaven’s discussion addressing the concept of racist animals; a defining element of his quirky sense of humour that may instead leave you feeling more perplexed than anything else!

An adaptation of ‘These Are a Few of My Favourite Things’ from The Sound of Music is perhaps the standout piece of the performance, wherein Treleaven announces that he has no time for “blatant ignorant fucktards” and as a consequence, must therefore be “racist towards racists,” a revelation that has his audience in stitches.

Ironically, though seemingly as a direct result of Treleaven’s innocent charm, you can’t help but laugh at his depiction of the abhorrent social undercurrent that is racism in modern society.

Semi-latent visual subtleties pad out Treleaven’s comical/informative rhetoric: from the “vaguely-Spanish” theme which could conceivably be regarded a manifestation of social and cultural stereotypes that fuel and promote racism within our society today, right down to such things as his hair; firmly slicked to one side and boasting a side part that, upon reflection, is a mirror of Hitler’s iconic aesthetic appearance.

Interaction between comedian and Matadoor’s audience is immediate and remains prevalent throughout: it is however, not overwhelming to the point of being an imposition on the audience, as is so often the case with stand-up comedy acts. Treleaven himself acknowledges that sitting in the front row at a comedy show can be a nail-biting experience. This admission immediately relaxes his audience and allows them the security of knowing they are safe in their seats.

As one of the more recognised performers on the Comedy Festival circuit this year, Treleaven has become infamous for his ability to deliver a healthy balance of useful and cultural information, socially responsible rhetoric, and comedic prose. The composition of Matadoor is no exception.

Matadoor is not only a reflection of Treleaven’s subtle comedic genius in the interpretation of social constructs, but also of the artist’s developing aptitude for seducing his audiences around the world; it is the manifestation of an inherent talent, and of the disposition of an artist who you can’t help but be captivated by.