Tom Huddleston’s “Gravity: Time Out Says” Is a Focused, on-Point Work
When the fashion of the day is to “go big or go home,” Tom Huddleston offers instead a tight review that accomplishes its goals without frills.
One of the the things that makes this particular work so stimulating is its focus from the outset: audiences will be pleased at the invitation to read more at the hint of the piece’s resolution early on. He doesn’t give away the conclusion, but he cleverly dances about it.
G: TOS is split into four movements. The first is a broad overview of his work as a whole, a sort of precis that would have seemed gimmicky if it weren’t executed so well. He delves next into a character analysis that doesn’t mince words, a nice break from the self-important and overbearing diction that pollutes “serious” fare.
It would be a mistake not to call this a serious work, however. For a work that isn’t terribly self-affected, it’s very self-aware; Huddleston clearly understands that to reverse the equation would be disastrous.
The final movement of Huddleston’s work makes good on the teaser introduced early on, with a scathing attack on what he calls “weepy mawkishness.” Ersatz sentiment is an unacceptable foil—a message audiences will relish.