Contemporary Theatre Research Lab Inc. presents “Lecture on Nothing” and extracts from Mureau – performed by Todd Barty - Sept 4 2026
Contemporary Theatre Research Lab Inc. brought a rare piece of twentieth-century experimental performance to Townsville with Lecture on Nothing and extracts from Mureau, performed by Artistic Director Todd Barty in the courtyard of the IERC at James Cook University.
John Cage remains one of the most influential figures in avant-garde music and performance, challenging conventional ideas of sound, silence and artistic meaning. Both Mureau and Lecture on Nothing exemplify his fascination with chance, openness and the possibilities that emerge when audiences are asked to experience rather than simply interpret.
Barty opened the evening with extracts from Mureau, Cage’s playful reworking of the writings of philosopher and naturalist Henry David Thoreau. Through a process of rearrangement and chance operations, familiar words dissolved into unexpected combinations, creating a stream of language that felt at once fragmented and strangely evocative. Seated with a cup of tea, Barty delivered the text with remarkable precision and composure, allowing the rhythms and quirks of the language to unfold naturally. Rather than forcing meaning onto the audience, he trusted Cage’s words to create their own peculiar logic.
Following this introduction, Barty returned for Lecture on Nothing, now draped in a long white shawl that subtly marked the shift into a more sustained and cohesive work. Written in a rhythmic structure that mirrors a musical composition, Cage’s text reflects on silence, emptiness, artistic process and the value of simply being present. It is a work that famously delights in paradox, embracing the idea of “getting nowhere, slowly” and finding satisfaction in that very process.
What might have become a dry intellectual exercise instead emerged as a compelling theatrical experience through Barty’s measured and disciplined performance. The actor navigated the text’s repetitions, digressions and apparent absurdities with unwavering commitment. Maintaining a calm, matter-of-fact expression throughout, he resisted any temptation to signal irony or seek easy laughs. This restraint allowed Cage’s humour and insight to surface organically.
Barty’s vocal clarity proved particularly effective. Every phrase was delivered with careful attention, helping the audience navigate language that often appeared deliberately elusive. His movement around the performance space was equally thoughtful. By relocating himself to different positions throughout the courtyard, he created subtle shifts in emphasis and perspective that kept the audience engaged despite the text’s unconventional structure.
The setting itself became an integral part of the performance. The open-air courtyard outside the IERC provided a fitting environment for Cage’s meditations on presence and attention. As darkness settled and the evening air cooled, the sounds of birds, insects and the surrounding environment drifted into the performance. Rather than interrupting the work, these natural sounds felt entirely compatible with Cage’s artistic philosophy, becoming an unplanned accompaniment to the spoken text.
The relatively small audience added further to the experience. Comprised largely of theatre practitioners, academics and lovers of experimental performance, the gathering embraced the opportunity to engage with material rarely presented in regional Australia. The intimacy of the occasion created a sense of shared curiosity, with audience members willing to surrender themselves to Cage’s unusual pathways of thought.
While Lecture on Nothing is not a performance for those seeking conventional narrative or dramatic action, Barty demonstrated how rewarding Cage’s work can be when delivered with intelligence, patience and conviction. His calm authority enabled the audience to appreciate both the humour and the philosophical depth embedded within the text.
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