The genre of Grand Guignol takes its name from Le Théâtre du Grand-Guignol which operated in Paris from 1897 to 1962. The performances were characterized by graphic gory realism, and sophisticated psychological playwriting – usually with moral detachment. While Hammer Horror films bumped Grand Guignol off the stage, this hugely influential genre is sneaking back into popular culture thanks to theatre companies like Thrillpeddlers, and Tim Burton’s cinematic adaptation of Stephen Sondheim’s musical Sweeney Todd.
Grand Guignol cover art by Roberto Massaglia.
Enter Melbourne cabaret duo The Tenth Stage, who have created a show around their three albums – the self-titled debut, Tales From The Crypt, and Grand Guignol. Chief lyricist Roberto Massaglia explains, “Grand Guignol is the equivalent of going to watch a horror movie, but at the theatre. I wish there were more shows like that, but unfortunately there are very few. This form of theatre disappeared, but because of the aspects of storytelling in The Tenth Stage, we wanted to revive Grand Guignol. These days, especially in Melbourne, there’s a lot of musicals, and very few plays. But I’m sure if there was a revival of this type of theatre, people would just run in flocks!”
Exploring true crime territory, Australian horrors have proven just as fascinating as old world terrors. Roberto provides overview of the song Banquet For 8. “It’s a true story – very well documented. Eight people escaped from Macquarie Prison. They were surrounded by thick forest; they had to walk a fair way to reach inhabited areas. On the way, they didn’t have any food, so a guy called Alexander Pierce started killing. A couple of guys ran back because they were afraid of being eaten. Eventually, only two were left. They were checking on each other, trying not to fall asleep in front of the campfire, because there was only one axe. When one fell asleep, Alexander Pierce axed him, and he ate him. He went back to the prison, he told the truth, and they didn’t believe him. Then somebody else decides he wants to run away with Pierce – because he made it, he disappeared for a few months. They don’t get very far because Alexander Pierce must have developed a taste for human flesh. This time they actually hanged him, dismembered his body, and apparently his skull is in some Philadelphia museum.” Roberto’s partner in cabaret crime, John Von Ahlen, chimes in, “The Tenth Stage is a history lesson – a musical commentary. There are enough atrocities in history; we’ll never run out of material. I don’t know if that’s a good thing, but that’s a fact.”
The Tenth Stage will be joining cabaret and burlesque performers at Euchronia – a Neo-Victorian Year’s End Ball, to be held at Trades Hall on New Years Eve in Melbourne. With steampunk installation artists embellishing the hall, and a battery of DJs cranking out new romantic, gothic fusion, electro, EBM and industrial tunes – fill your dance card for the ultimate in anachronistic chic.