A rare foray into the world of dance saw me catch the highly atmospheric Outwitting the Devil from the Akram Khan Company and Heartbeat of Home at the Piccadilly Theatre
I’m not necessarily known for my dance reviews but that’s mostly because I do find it a little difficult to write about, trapped in a vicious circle of not considering myself to have enough relevant experience to write about it in a meaningful way, and thus never booking in to see it, thus never gaining that experience… Over the last weeks though, circumstance has conspired to get me to see the Akram Khan Company in Amsterdam and Heartbeat of Home much closer to home and so, I’m practically a dance critic now. Severrrrrn…
On the precipice of retirement, Khan has decided to focus his considerable talent (Binoche! Kylie!) on choreography, “dancing [his] ideas through the bodies of others” as he so eloquently puts it and the first fruit of this stage of his career is Outwitting the Devil. Inspired by a fragment from the 4,000 year old Epic of Gilgamesh, it is a powerfully evocative if thematically vague piece for six dancers and while I found it largely very impressive, I was grateful to have programme notes to give it some narrative structure. Continue reading “Dance Review: Outwitting the Devil / Heartbeat of Home”
I might have taken a break from reviewing in June, but I didn’t stop going to the theatre – I had too many things already booked in. Here’s some brief thoughts on what I saw.
Betrayal, Harold Pinter
Shit-Faced Shakespeare – Hamlet, Barbican
The Knight of the Burning Pestle, Cheek By Jowl at the Barbican
Somnium, Sadler’s Wells
Les Damnés, Comédie-Française at the Barbican
Vanya and Sonia and Masha and Spike, Theatre Royal Bath
Blithe Spirit, Theatre Royal Bath
The Hunt, Almeida
Present Laughter, Old Vic
Europe, Donmar Warehouse
The Deep Blue Sea, Minerva
Plenty, Chichester Festival Theatre
Pictures of Dorian Gray, Jermyn Street
The Light in the Piazza, Royal Festival Hall
Hair of the Dog, Tristan Bates Continue reading “June theatre round-up”
“Switch Grindr off before the night begins…”
For all the rainbow flags painted on cheeks at Pride and declarations of being an ally, I don’t straight people can ever really appreciate the extraordinary rush of feeling that comes from going to your first gay club. The excitement, the fear, the sexiness, the strangeness, the sense of community that feels right at your fingertips, the sense of potential isolation equally, precariously close – it can be a most eye-opening, exhilarating experience. It can also be more ambivalent than that.
And it is the complexity of this sensory overload that Alistair Wilkinson captures evocatively in his dance-led devised piece Man-Cub. Trailed as a queer adaptation of Rudyard Kipling’s The Jungle Book, it feels looser than that but Alex Britt’s first-time gay club-goer is our Mowgli and the club is his jungle. And if we don’t get a Baloo (no bears in this gay club!) or a Kaa (joke about being hung like a python redacted), what we do get it a sense of the tribal fervour of the dancefloor. Continue reading “Review: Man-Cub, Etcetera”
Ovalhouse and BraveNewWorlds’ Trinity describes itself as a design-led performance and it does feel more art installation than conventional theatre. And like much of modern art, it benefits from explanation by its creators, captions explaining and connecting the artistic vision behind what might otherwise seem vague and untethered.
So in their words, Trinity “explores the aesthetics of gender and female iconography in society’s visual culture, from pagan and religious artefacts to pop culture’s bedroom selfies”. |In mine, it exploits the visual representation of female roles to stunning effect but decreasing returns, as it offers little more that is tangible. Continue reading “Review: Trinity, The Asylum Peckham”
Truth be told, I don’t review much dance because I don’t feel qualified to comment on it. And because I don’t feel qualified to comment on it, I don’t see much dance…and so the vicious cycle continues. I was able to get a ticket to the last night of Drew McOnie’s re-imagining of Jekyll and Hyde though, it having been recommended to me by several people, but knowing that I wouldn’t be writing about it, I might have had a couple of sherbets pre-show. So aside from saying that I really enjoyed it, I won’t be commenting any more to say that Manuel Harlan took these lovely pics.
Continue reading “Pictures of Jekyll and Hyde, Old Vic”
“Dave hasn’t danced since a disco in Nairobi in 1984”
Do you dread the moment your dad gets up on the dancefloor, or do you celebrate the time being spent together? Do you cringe at the moves he busts out, or give thanks that he’s able to do them? Do you despair at the lack of rhythm that seems to accompany fatherhood, or appreciate the specialness of the beat of his own drum? I think few of us could honestly say we’d answer the latter for any of the above but such questions, and more, lie at the heart of devised dance piece Dad Dancing which encourages us to reconsider.
Created and developed by three dance students looking to engage their fathers in their chosen craft beyond the standard attendance at the end-of-year showcases, this beautifully warm-hearted show has a most beguiling quality. Exploring not only their own relationships with their fathers, who appear alongside them here at the Battersea Arts Centre, they’re helped by a large supporting cast who bring their own father/child experiences to bear. Thus a whole spectrum of experience stands before us, asking what it means to be a son or daughter, to be a father, to be a dancer. Continue reading “Review: Dad Dancing, Battersea Arts Centre”
Truth be told, I am no real fan of dance shows. I do give it the occasional try hither and thither but it is an artform whose charms have largely bypassed me, but I do like to keep trying with things and so I took up the offer from a friend to take in Matthew Bourne’s Play Without Words at the Sadler’s Wells theatre. A 2002 commission for the National Theatre, it is receiving its first revival here as part of the New Adventures’ 25th anniversary celebrations, but though it is undoubtedly a stylish and slick piece of work, I found it to be rather soulless.
Inspired in 1960s British New Wave cinema, it borrows heavily from the 1963 Harold Pinter-scripted The Servant to tell of a well-to-do young man who hires a manservant to run his household but who ends up controlling his life. But what Bourne has done is to double- and sometimes triple-cast the characters so that the story is told with multiple perspectives and the varying possibilities of each scene are explored right in front of us. It’s a clever move and one which offers much opportunity but I couldn’t help but feel that by the end it was overused. Continue reading “Dance Review: Play Without Words, Sadler’s Wells”
Just a quickie, as I don’t really do much dance alongside my theatre-going and so I often struggle to write up these shows cogently, especially when there are so many others who write so well about dance. But I do go occasionally, and quite often it is at Christmas-time as part of a family tradition which is still being observed by me and one, if not the other, of my sisters as we are treated to a Christmas shopping trip, dinner and a show by Aunty Jean. We’ve taken in all sorts over the years, including countless Returns to the Forbidden Planet, a ridiculous Wizard of Oz and a John Rutter concert last year, but often it was to the ballet that we would go and so there’s something innately Christmassy about the ballet for me.
In that respect, Tchaikovsky’s The Nutcracker is the perfect festive indulgence and in this classic production by Sir Peter Wright, we were given a sumptuous, traditional and gorgeously danced treat. It looks amazing, the sets for the first act just get better and better, I only wish we could spend longer in the section where Clara is shrunk as the giant tree looks magnificent, and the final tableau is goosebump-inducingly beautiful. The snow-goose-related coup de grâce that opens the second act perfectly embodies the kind of magic that feels just right at this time of year and overall, it is easy to see why this is a production that returns year after year. Continue reading “Review: The Nutcracker, Birmingham Royal Ballet at the Birmingham Hippodrome”