GRAND FINALE

Choreography and Music by Hofesh Schechter

Performed by Hofesh Schechter Company

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Hofesh Schechter has created a world both nightmarish and blissfully optimistic in Grand Finale. His latest work is defiant, mischievous and brutally beautiful. Part gig with a small orchestra onstage; dance and theatre merge with the same seamless fluidity that allows monolithic slabs to both create a sense of endless time and club land rave scenes. Grand Finale is both an anguished salute to lives lost in destruction and war, and two fingers held up to the doomsday predictors. The musicians are integral to the flow of the piece. Ever present though always on the move, they are formally attired and one even sports a life jacket as if to allude to the musicians who played on as Titanic sunk.

We can all dance to the same beat but sometimes we may hear a different unique beat in the same music and so we separate as individuals and respond in a myriad of ways. So it is with Grand Finale, Schechter’s dancers come together and replicate movements, their bodies harmonizing in unison and at another times they clash and jar with seemingly murderous intent.

Perhaps Schechters greatest skill is in how he uses dance and music as unifiers. There is a universal commonality in the throbbing beat that seems to connect with one’s own body – the movements you see on stage can feel as though they are simultaneously experienced in your own muscle memory. Moments from rave scenes feel intensely familiar then flow into Celtic dance or Maori Haka or riotous dance to klezmer music. This is modern yet ancient, ageless and current.

The blend of sound and light by Schechter and lighting designer Tom Visser is beautiful. Beams of light illuminate upturned faces as though kissed By the sun. Grey gloomy mist can signify Dawn or the dry ice of a nightclub. At other times it seems like there is the red dust of African plains which may be the fires of Dante’s Inferno. They are glorious playful moments as hundreds of bubbles drift down like snowflakes unto the battlefields of No Man’s Land at Christmas time. Here figures dance like marionettes and later with gay abandon to Franz Lehár’s Merry Widow Waltz as worries are cast aside culminating in a chilling end piece as a pile of bodies grows at the side of the stage and is silently saluted.

Scenes start to get smaller and more specific as they fragment into tableaux scenes that echo snapchat or Instagram poses. Figures embrace, party or pray as the dance slows down and the orchestra gets softer and starts to fade. Are these open mouthed figures aghast in horror or yawning with ennui as everything changes and yet still remains the same?

Grand Finale 22nd – 25th May 2019

Hofesh Schechter Company

Images by Rahi Rezvani

WHEN IT BREAKS IT BURNS

Created/Performed by ColetivA Ocupação

Directed by Martha Kiss Perrone

CONTACT

Moss Side Millennium Powerhouse

ColetivA Ocupação are the real deal in every sense. Performers, creatives, activists, educators who vividly bring to life their personal experiences of occupying their schools in São Paulo to protest the Brazilian government’s proposed decimation of educational resources in 2015/2016. They are full of exuberance and boisterous passion and their mantra is “to occupy is to resist.”

Massing in the garden courtyard of Millennium Powerhouse the audience is suddenly led into a gym hall where chairs are scattered through the space and some are already occupied. Music, lighting and the intensity of the seated performers ramp up the sense of unease and palpable tension. As the action flares up it is clear that this is no easy ride sitting in a theatre observing a performance. The choreography ensures the audience members are in the thick of the action and occasionally at physical risk of the odd bruise. This is an intense immersive experience that feels utterly authentic and at times genuinely both scary and exhilarating.

Recreating what it was like to scale the walls Diadama School in 2015 they create a human wall which each triumphantly scales. As an audience we get to witness their excitement, their bravery and their fears as police surround the schools and many are dragged off. These were children, young people chasing police intimidation, beatings and tear gas. As they later talk to us in small groups recalling personal experiences it is clear that these vibrant young people have lived through life-changing experiences.

The sheer physicality of this performance and its riotous risk taking evokes passion and sheer admiration at its bravery and its hope. As we are moved off chairs and jostled as they creates barricades and banners these performers are setting alight a real desire to harness that youthful passion and make change happen. Whether it is in schools in Brazil or it is Environmental protests across the world…

Let’s occupy the schools. Let’s occupy the streets. Let’s occupy the theatres. Let’s occupy everything.

CONTACT 8th/9th May 2019

ColectivA Ocupação

Part of Resistance in Residence, a British Council programme.
A collaboration between Contact and Transform.
Made with support from Casa do Povo, Forma Certa and Converse.
Supported by British Council and The University of Manchester.
Image credit: Mayra Azzi

ONE

Bertrand Lasca and Nasi Voutsas

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Two men. A very tall ladder. A conundrum. This is of course the return of Bertrand Lesca and Nasi Voutsas as they return to HOME with ONE, the final part of a trilogy that includes the brilliant EUROHOUSE and PALMYRA. Polarisation, provocation and dogged resolve are continuing themes, played out with their particular brand of disturbingly dark clowning and winsome charm as they invite collusion from the audience. We have choices. It’s clear. We can literally throw shit at each other, remain paralyzed in time or we can take a leap of faith together and hope in a better future.

As with their previous work Bert and Nasi use elements of what maybe their own personal relationships with each other to make provocative statements about contemporary politics. A Frenchman and a Greek who met in Scotland their work is especially resonant in our world of Brexian madness. With Nasi up a very high ladder and Bert at the bottom pleading, cajoling and finally becoming threatening, I’m starting to feel worried and rightly so. I’m worried about Nasi and Bert. I’m worried about relationships in general. I’m worried about the Northern Ireland border. I’m worried about Brexit. I’m worried about world peace… Nasi is still up the ladder. Bert is playing Imagine by John Lennon. Bert is imploring the audience for assistance.

Finally they sit at either end of a table. They could be a couple trying to resolve their differences at the kitchen table or they may be politicians in a boardroom either way there is both a reluctance to engage or to walk away.The push-pull of a relationship at breaking point is being played out and the ramifications of what will happen if one of them leaves or stays brutally apparent. Bert’s message is clear – I can leave but if I do I won’t be silenced I will be a thorn In your side. I will not just disappear.

Lesca and Voutsas are masters of their art. Their sense of comic timing, pathos and charm are reminiscent of another age – and double acts like Laurel and Hardy, yet their work is sharply focused on modern issues. With a skillful use of simply staying in a moment of stillness to create a protracted discomfort or ramp up tension, they create complex productions with the apparence of absolute simplicity.

Their childlike bickering has the sinister undertones of politicians shouting each other down in parliament. As they invite the audience to collude as in previous shows we can choose to encourage an act of destruction, stay in a cycle off unremitting paralysis or take a leap of Faith and engage in the possibility of a better future. It would of course seem like a no-brainer but three show in for them and no sign of a Brexit solution for us, then like Nasi and Bert I’m still hopeful but I’m getting tired too.

HOME Wed 8th – Fri 10th May 2019

Bert and Nasi

RICHARD III

Written by William Shakespeare

Directed by John Haidar

Shakespeare’s tale of the “undigested and deformed lump” that is his Richard III is considerably tweaked in this version by John Haidor for Headlong. Here we see a man more emotionally stunted than physically restricted by his disability. Tom Mothersdale delivers a Richard whose twisted body is as fluid as his nature is mercurial. The hall of mirrors that dominates the set serves as judge and jury to Richard’s lack of conscience and reflects back to the audience as a means of drawing us into this tale of political greed, narcissistic ambition and false news.

Mothersdale manages to repulse and charm in equal measure. His capacity for brutal acts and honeyed words is that of a true sociopath or charming manipulator. Moments of visceral violence as he bites his victims with the suddenness of a deadly spider sit uncomfortably alongside humour as he mischievously addresses the audience close up or prances with a makeshift crown like a gleeful child ransacking the dressing up trunk. For all his cunning and remorseless violence there is the vulnerability of a child who recognizes his mother is ashamed of his twisted body and repulsed by his twisted nature. Director Haidar ensures that we see this wounded child who has long ago decided that if he cannot have the love and admiration of others, he will command their hate and fear. Mothersdale captivates throughout in what is a truly demanding role. Rarely off stage he is never less than electrifying especially in the second act when demented by jeering ghosts he sees his fleeting success melt away on the battlefield. Bloodied and mud stained he smears mud across the reflected ghosts as if to wipe out any hint of his own wrongdoings.

Chiara Stephenson has designed a set that is gloomy and forbidding in its grey ramparts and dungeons but cut through with reflective mirrored archways. These arches allow actors to move rapidly between scenes while also creating depth to the set as the ghosts appears behind them and the audience is reflected in them looking at ourselves just as Richard examines himself in these multiple looking glasses.

Haidar makes use of every possible dramatic element that can be drawn from this gothic castle. Stony grey yet pulsating with life and bloodied by death this is a building that echoes its history in every mirrored arch reflecting lives once there and now just ghosts in the fabric of the building. The use of light and sound by Elliot Griggs and George Dennis provide striking flourishes that give the murders and battles scenes slashes of colour and sound that evoke video game violence- perhaps to suggest Richards own childlike lack of awareness of the real consequences of his actions. If at times elements appear overplayed or exaggerated they encapsulate Shakespeare’s original exaggeration of the real man. Whether you love it or not the impact of the attention seeking design elements and directorial flourishes are as in your face as Richard himself.

This feels a very fresh and timely revisiting of Richard III. There is a truly monstrous quality to this character in his relentless quest for political power. The wily cunning off an ambitious man who exalts in having neither pity love or fear is a chilling reminder of some of our politicians who make decisions for us based on their own fragile narcissistic egos and lust for power. Like Richard they strut across the world stage daring us, the audience, in how much we will allow them to destroy before we revolt and them down. Personally there are quite a few political anti heroes I would love to see buried under a carpark in Leicester!

Headlong

HOME 30 April – 4 May 2019

Images by Marc Brenner

West Side Story

ROYAL EXCHANGE THEATRE

Directed by Sarah Frankcom

Initially conceived by Jerome Robbins in 1949, WEST SIDE STORY finally arrived on Broadway in 1957. A resounding hit, it was made into a movie in 1961 and has remained an iconic and groundbreaking musical ever since. New versions are in production for Broadway and cinema, but the first big production to makes changes to the choreography and score is this Sarah Frankcom version.

Based on star-crossed lovers Romeo and Juliet, this tale of thwarted love amidst gangland violence and knife crime is as horribly relevant in modern British cities as it was in 1950s Manhattan. It speaks so vividly of young people adapting to their burgeoning independence in a world where they may struggle for acceptance. This tale of gangs is evergreen in that it perfectly depicts the human quest for social identity. We all seek a sense of belonging and to affirm this we adhere to an in group which might be family, social class, a gang or a football team. To increase self esteem we discriminate against the out group, the more prejudice and seperateness then the greater enhancement of self image. The beauty and the tragedy of this has resonated throughout the ages and in every culture. In my teenage years it was Catholics and Protestants in Northern Ireland where boys were knee capped and girls tarred and feathered if they dared to fall in love with someone outside their religion.

The set design by Anna Fleischle is all clean stark lines of white steel and glass, like possible staging for A Clockwork Orange. Although beautiful in a minimalist manner it initially seemed too cold for this tale of passion. There is no context or sense of location which is disconcerting yet highly effective as a potent reminder that this story is ongoing – here in the theatre and outside in every town and city.

This set also works brilliantly with the new choreography by Aletta Collins. She has kept the beauty of the original but adapted it for the round stage and added a fresh athletic element that sees the performers really use the multi levels of the set with cat like grace and agility so there is almost an element of Parkour in the choreography.

Jason Carr has ensured that the music really is the star of this production with an orchestra concealed outside the theatre itself delivering a glorious version of Bernstein’s score. Every note seems flawless and crystal clear as though the orchestra was actually centre stage.

The cast exude the confidence and youthful exuberance of teenagers with a lust for life and a casual disregard for the brutal reality of death until tragedy actually strikes. There are some great vocal performances. Gabriela García as Maria has a pure soaring operatic vocal while Andy Coxon as Tony has a rich warm voice which grows in confidence throughout the show. Gang leader Riff Michael Duke is a powerful dancer but it is his lover Anita, Jocasta Almgill who steals the show. A brilliant singer and dancer, it is also her stage presence which ensures she exudes both passion and compassion.

The central protagonists Coxon and García have do have great chemistry as the lovers torn between two worlds. The love scenes are full of tenderness and the reckless passion of teenage hormones. The rumble scenes and resulting deaths are impactful and exude horror and regret at the wasted young lives. The overall feel of this production is that it is a beautiful and lovingly crafted yet I left feeling curiously flat. Perhaps as Maria says It’s not Us, its everything around us, the knowledge that our young people appear destined to keep repeating the same mistakes in an unyielding world.

Royal Exchange Theatre 6 April – 25 May 2019

Images by Richard Davenport: The other Richard

KINGDOM

HOME

Created by Àlex Serrano, Pau Palacios, and Ferran Dordol

Agrupación Señor Serrano

HOME has a marvellous flair for showcasing pieces of theatre that excite and assault the senses. KINGDOM is a perfect example of irreverent, loud and brilliantly clever theatre that ramps up the energy and has a theatre audience feel like they have just come out of a hi-energy gig. Co-produced by HOME this UK premiere of this Señor Serrano show is a fabulous and fruity part of the 25th VIVA! Festival.

Staged with long tables of archaeological or architectural like exhibits, alongside fruits, foliage, booze and fags with chain smoking macho men in front of a giant projection screen. The performers’ casual demeanor suggests no rush to even start the show yet the overall effect is gripping. Before anything even happens all eyes are on the stage attempting to drink in all the props and their possible uses.

This is a story of the cycle of demand, consumption, crises and insatiable desire. The history of the humble banana, its discovery by Minor Cooper Keith in 1876 and its introduction to the Western world and subsequent growth as a plantation crop leading to overproduction, crop blight and world financial crises. The growth of the banana from fruit to iconic superfood, mans’ fascination with King Kong and machismo are threaded through the growth of capitalism and consumerism. So many ideas and concepts packed into a one hour show should produce an scrambled mess yet somehow what emerges is thought provoking and energizing.

Using a unique blend of video, performance, scale models,dance and live music Señor Serrano are masters of their craft – creating cinema-in-real-time. The skill and artistry and nonchalant ease with which they intricately film tiny models of railroads and bananas highlighting the onward march of consumer greed. The impudent glee as a human hand starts moving into the footage or a performer sprays himself with a plant mister to appear sweaty in the jungle foliage. Old newspaper covers with moving film images in the columns and TIME magazine covering celebrating everyone from King Kong to Hitler, Tarzan and JFK. Every tiny movement is meticulously accounted for yet simultaneously these performers are playing instruments and dancing around with infectious energy.

The result is phenomenal as this tale of greed and disaster grows so too does the energy and pace of this piece. By the end the stage is filled with more bare chested posturing macho men dancing to an ever louder beat as confetti cannons shoot euros into the audience. Is this theatre or a utterly brilliant night on Canal Street? It’s certainly memorable and as we are repeatedly told, Estamos bien, estamos bien.

HOME 9th – 13th April 2019

Señor Serrano

Images by Vicenç Viaplana

The Funeral Director

HOME

Written by Iman Qureshi

Directed by Hannah Hauer-King

Amy Jane Cook has created a set design for The Funeral Director that reflects the duality that runs through this production. A set split between the living and the dead populated by characters torn between the rules of personal culture and faith in the community and the laws of the land. Writer Iman Qureshi uses this family run Muslim funeral parlour to highlight some important issues around the laws of a faith and those of a country and how they impact on individuals when they clash. In this instance the dilemma centres on ethical choices in business – be black listed by your community or risk being sued, and on an emotional level how to be true to your own sexuality when that truth is at odds with your faith.

The opening scene introduces the theme that nothing should be taken at face value. Ayesha is first seen holding a tiny baby wrapped in white swadling while she sings a soothing lullaby. To all intents and purposes she is a young Muslim mother, yet there is a sudden shocking realisation that she is the funeral director and this is someone else’s dead child. Aryana Ramkhalawon is convincing as a young woman torn between duty, dreams and sexual identity. Sleepwalking between grief for her deceased mother, caring for the dead and being a good Muslim wife, the unfolding events see her flourish as she finds the faith in herself to rebel against convention in her community.

Assad Zaman as husband Zeyd gives a strong performance but his character is less clearly drawn. Initially full of warmth, charm and compassion, it feels frustrating that when faced with the strain of the legal case and issues in his marriage his character seems to revert to religious dogma and homophobia which somehow don’t feel totally believable.

The scenes with Janey (Francesca Zoutewelle) fizz with life and vibrancy in this Funeral parlour. They provide valuable insights into the background history of Ayesha and offer her a way out of the constraints of hiding her sexuality and honouring her mother’s business.

This is a play that’s highlights the human need to either adapt or rebel in order to survive. Director Hannah Hauer-King skillfully ensures that this is a story that’s remains humane rather than preachy. There is warmth and wit and generosity of spirit alongside the complexity of orthodox beliefs. Perhaps influenced by the legal case of the bakery in Northern Ireland which became the most expensive cake in British legal history this is production which unflinchingly looks at the prejudices in our modern society. There are aspects of story in this production that risk becoming formulaic in an understandably genuine desire to tackle an important subject, however overall it is an engaging and absorbing piece of theatre that is definitely worth seeing.

HOME 27th – 30th March 2019

Images by Mihaela Bodlovic