GRAND FINALE

Choreography and Music by Hofesh Schechter

Performed by Hofesh Schechter Company

HOME

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

THE WEDDING

HOME


Gecko opened their tour of The Wedding at HOME and the space has been buzzing all week. Last night was no exception and Gecko delivered a frenetic performance which was high on energy and buzzing with ideas and concepts.

The performance opens in darkness and noise starts to whoop behind and above the heads of the audience and moves swiftly round the theatre. Clever use of sound creates a vivid sense of what is about to happen as a performer bursts out of a chute in his underwear into a pile of teddies. Picking one up he rather reluctantly exchanges it for a wedding dress. It evokes the end of childhood freedoms and the donning of adult constraints. This exchange is officiated over by a stern woman in business dress clutching a clipboard. In this way the stage is set for Creator Amit Lahav to realise his “dystopian world in which everyone of us is a bride, wedded to society.”

The show is a blend of set dance pieces, physical theatre, circus performance and puppetry. There is always a lot happening on stage whether it is inferred from one immigrants face appearing from a suitcase to the exuberance of a Jewish wedding party. There is frequent shifts of musical styles, languages and cultures. We are all wedded to whatever society or culture or religion we are born into. The rupture of divorce from lover, job, culture or community is usually brutal whether we choose it or it is imposed upon us.

Blanked out bureaucratic faces look down from a height at office workers suffocating in endless stale routines, and often the dance reflects the jerking spasms of marionettes whirring into submission. At another point veils are torn away and we simply see another human being hiding his ordinariness behind giants stilts- no bigger or greater than anyone else on stage.

This is a piece that will probably continue to change and develop. It feels chocoblock with ideas like children spilling out of a play chute pumped full of E numbers. There is too much to take in to fully appreciate everything on stage. 

The end piece is triumphant as everyone comes together in a marriage of love rather than a wedding to state. The singing, clapping and stomping fill the theatre til it is booming with life. Home is where the heart is and last night Gecko truly put their hearts into the core of HOME.

10,000 Gestures

Image Tristram Kenton

MAYFIELD BUILDING

Choreography Boris Charmatz

This is a stunning sensory experience. The cavernous disused space is all shadows and shade. The floor glistens like a still pool waiting for the dancers to plunge in or gracefully thread water. The music by Mozart (Requiem in D minor K.626) is breathtakingly beautiful apart from the occasional puncuations of screams, howls and frantic number counting.

As the dancers flood the space in varying degrees of undress there is a sharp sense of Movement, Movement, Everywhere and not a drop to drink in. 10,000 gestures is ambitious and gloriously absurd in its celebration of the impermancy of movement. There is simply too much to process. Even counting the ebb and flow of the 23 dancers felt impossible at times.

The audience are audibly shocked and discombobulated as the dancers clamber over aisles, seats and audience like semi naked marauding ants then later scatter like ephemeral butterflies. 

There may have been 10,000 claps at the end. It was the only standing ovation I’ve seen at M1F17. 

My tribute to Charmatz- 10,000 Gestures in 60 words. One for each minute of the running time.

RED. SEQUIN. CIRCUS. GUTTURAL. PLAYFUL. CHEEKY. SWIMMERS. HARLEQUIN. BIKINI. SPEEDOS. BOILERSUITS. MASKS. GRACEFUL. FLUIDITY. FLEXIBILITY. DEXTERITY. JUMPING. LEAPING. GYMNASTICS. GOOSESTEPPING. SPLITS. INDULGENT. LUNACY. SKIPPING. KISS. GLISTENING. SHOUTING. CLAMMERING. DEAFENING. GAGGING. ASYLUM. SCREAMING. WRITHING. DRAGGING. GRABBING. DRAGGING. WRITHING. TWISTING. STILL. DARK. SLOW. AWAKENING. CHANTING. COUNTING. CLAMBERING. MARAUDING. SCRATCHING. TWITCHING. ANARCHIC. TRIUMPHANT. INQUISITIVE. INTENSE. SCISSORING. SCATTERING. STAGGERING.BALLETIC. MUSCULAR. PURE. SPINNING. SPLITS.

Until 15 July

What If I Told You?

Written and Performed by PAULINE MAYERS

Directed by CHRIS  GOODE 

The Studio, The Royal Exchange 

Pauline Mayers is a Rambert Ballet trained dancer, a choreographer, a writer and a theatre maker. She is a Hackney girl who has travelled the World as a dancer. She is a women of a certain age who has lived through significant  physical injuries and the emotional pain of depression.  She is a performer and an experimenter and an explorer. She is a black woman who has had a mixed response from the dance world about having a black body  to channel ballet through. More recently she has also experienced the closed doors that often greet an older dancer.

Talking to her in interview recently and watching her perform this  evening there is an undoubted warmth and engagement with others that is striking. As she opens the show her gaze attempts to connect with each member of the audience with a white hot intensity. This will draw in many audience members but for some may prove uncomfortable to fully engage with.

What If I Told You? uses theatre, movement and dance to explore prejudice and the conscious and unconscious assumption around skin colour. The piece weaves elements of her personal history and dance experience with the story of Dr J.Marion Sims often referred to as the father of modern Gynaecology. 

Dr Sims practised medicine in the nineteenth century and made major discoveries in the field of Gynaecology. His work was and remains highly controversial as he used black slave women as his subjects and refused to use anaesthetic deeming them less able to feel pain than white women.

The piece uses audience interaction and participation throughout. It is most powerful as we recreate a montage of a painting of Sims with Anarcha (a patient he experimented on many times), and two other white doctors observing while two tramatised black women peek through a curtain to see what awaits them. This is the impact of the piece that has stayed with me. Imagining that Anarcha might have been Pauline and seeing a lovely young black woman I know who could have been waiting her turn. Sims and another doctor were portrayed by white middle class men I also knew. It was deeply unsettling to imagine whose shoes we might walk in, in another place or time. 

There are some very rich moments to observe and there are some lovely interactions and connections as the audience participate in the movement of the piece. There is however a frustration that in weaving these elements together so much there is a risk that the piece loses some of its impact. An hour limits some of the storytelling when we also are participants. Pauline is so engaging I wanted more of her and less of me!!

Koan is a Japanese word for public thought. Its the audience thinking and speaking and reflecting together. Its a radical act of self care and empowerment. 
The Koan completes the second half of the show and is led by poet Khadijah Ibrahiim. Koan is a Japanese word for public thought. This is an important part of the piece as it is an exploration of subjective experience and a continuation of sharing what is “sameness” as opposed to “otherness”. 

The genuine hope in What If I Told You? is that each of us leaves the space with a keener and more empathic perspective on our neighbours. 

“There are periods of history where skin colour is used as a means to separate and disconnect us. I really feel what hurts you, hurts me. We are all human beings. There is only one race.”
This is a very personal piece. Pauline says it is an invitation to walk in her shoes for an hour. As with any subjective experience this will be more potent for some than for others. This is undoubtedly painful and chilling at times however it is also celebratory. Having stubbornly fought to be recognised as a black dancer and struggled with the loss of that career this show is also a homecoming. Theatre has welcomed her as a performer and story teller and her joy and appreciation is evident in this piece.

SHOWING 19/20 JUNE