Insane in the Brain - Lowry Theatre

Insane in the Brain

Adaptors: Bounce Streetdance Company

Based on the book: One Flew Over the Cuckoo’s Nest

Writers: Ken Kensey and Dale Wasserman
Artistic Coach: Peter Storm
Reviewer: Dave Cunningham

For a show that aspires to be cutting-edge this uses one of the oldest clichés in the book as its premise .The idea of using the anarchy inherent in modern music to challenge the established order was used in most of those awful rock and roll films that came out in the 1960s.Still, although it has rough moments, ‘Insane in the Brain’ is an excellent show.

This is a street dance version of ’One Flew Over the Cuckoo’s Nest’. Randall P. McMurphy (Joao Assuncao) is incarcerated in an asylum where he clashes with Nurse Ratched (Letitia Simpson) who feels that teaching the inmates the discipline of ballet will be therapeutic. McMurphy instead introduces them to the freedom of street dancing with ultimately tragic results.

One of the problems with the show is a poorly spoken opening scene, which makes clear that English is the second language of some of the company and that inflection is an unknown concept. The comic elements are uneven .A very funny filmed interlude is off -set by a puzzling sequence featuring songs from Flashdance and Fame. The purpose is unclear and it interferes with the mood of the show by introducing unnecessarily broad comedy elements such as the male dancers in Borat – style leotards.

The dance moves reflect the characteristics of the individuals. The Obsessive Compulsive Disorder from which Dale Harding (Alvaro Aguilera) suffers is shown in a repetitive series of movements. The repressed and dominating Letitia Simpson has robotic movements and her solo (ironically to Missy Elliot’s ‘ Joy’) is performed in a tightly enclosed space .The exhibitionist Miss Martin (Bianca Fernstrom) has a bouncy, cheerful series of moves. McMurphy sometimes seems motivated by anger as much as the desire for freedom and his duet with Nurse Ratched (to ‘Libertango’) shows that he might have more in common with that character than those he seeks to inspire. The final scene of Chief Bromden (Daniel Koivunen) taking on the mantle of McMurphy’s street dancing is deeply moving.

The real strengthen of the show is, however, the ensemble dance scenes. A disturbed night’s sleep leads to a striking dance on, and around, the beds. ’Express Yourself ‘ is the perfect backing music for the characters to experiment to find their preferred dance moves. Best of all is a scene of electro-shock therapy to System of a Down’s P.L.U.C.K. which is performed by the cast as a semi-bungee jump with them ricocheting up and down a wall.

Despite the odd rough moment ‘ Insane in the Brain’ is an inventive way of telling a story which definitely appeals to a young audience.

‘ Insane in the Brain ‘ was reviewd on 21st November 2009, and its UK tour has now finished.

The Land of Yes and The Land of No - Lowry Theatre, Salford

The Land of Yes and The Land of No
Choreography: Rafael Bonachela
Music: Ezio Bosso
Lighting: Guy Hoare

Reviewer: Laura Asbury

Rafael Bonachela’s latest work, ‘The Land of Yes and the Land of No’ arrived at the Lowry last night for one night only – and what an ephemeral pleasure it was. A pity their stay in Manchester was all too fleeting, as this transcendental new work was one not to be missed. Bonachella has spent much of the past year researching for the piece, examining the world of “signs and symbols that shape our everyday movement.” One-way, No Entry, Warning, Stop. He uses these signs as a stimulus for the production of pedestrian movement, the dancers embodying directional gestures to signify institutional reference points one mechanically conforms to in society. However tedious these functional devices are on the Contemporary dance circuit, Bonachela moves beyond the cliché, by employing a threatening undertone that weaves a gentle thread through the matrix of his choreography, whereby carefully constructed solos and duets explore the sympathies, frailties and spirit of human nature.

The most striking image is Amy Hollingsworth’s first entry; a body appears stage left, convulsing, gripping its chest, irregular spasms of delicate gesture giving way to sinuous phrases of dexterous fluidity. She seems perplexed, troubled, wary of her route; her hand clasps a heel as the leg violently kicks from its casing, as the head leads the tailbone on a reckless journey of breathtaking motion. One of the world’s most intelligent and thoughtful dancers, Hollingsworth glides the floor like a cheetah, taking dangerous gravitational risks, always moving with sheer intent and integrity.

A semiotic discovery through movement, the six dancers exhibit internal confusions and frustrations conveyed through ornamental, decorative gesticulation of the limbs, which is disrupted by weighted contact, laborious breaths and a passive docility of the body that leads to astounding violent and tentative manipulation of each other. Beautifully scored by Ezio Bosso, the music provided a string-based ostinato, its temporality filtering through the grains of the dance text: simple melodies seeping inside dark, intimate duets. Bosso makes attentive uses of silence within his rhythmical phrases, stillness in the score often punctuating the dancers to tangentially disperse away from the nucleus of unison phrases.

Bonachela invites the audience to, in his words, “feel something… it is up to you how you read it”. Whenever I hear these acts of artistic excuse, I can’t help but feel somewhat short-changed. Of course the very essence of Contemporary dance allows one to engage in art/dance/life outside-the-spoon-feeding-box, however this Post Modern rule must not replace the need for critical, choreographic profundity. Interestingly, Luke Jennings, a novelist from the Guardian, commented on a lack of profound subject matter in British choreography, stating that Bonachela needs a “road-to-Damascus moment” in order to find internal inspiration. A truly spectacular technician, Bonachela has a wonderful ability to craft the most intensely powerful physical richness, but whether his ideas are complex enough to penetrate beyond the superficial appreciation of technique, is highly debatable.

Performance was at The Lowry 3rd November 09 for more information on the tour click here

Dorian Gray - Lowry Theatre, Salford

Dorian Gray
Devisor/Director: Matthew Bourne
Composer: Terry Davies
Reviewer: Laura Asbury

Sexy, stylish and elegantly conceived, Matthew Bourne’s Dorian Gray is a modern day exploration of Oscar Wilde’s The Picture of Dorian Gray, first published in 1890. Bourne’s Twenty First Century injection into this gothic tale cleverly readdresses themes of alienation, beauty and sexual repression by exposing the sinister superficiality of the idealised image of the modern celebrity and the futility of hedonism.

Although this production has faced tough criticism in the past for its overt homoeroticism and in-your-face references to sex (in comparison to the hidden subtleties of Wilde’s poeticism), Bourne is basking in his choreographic comfort zone here and the delightfully conceptual transgression from the novel deserves much critical acclaim. Bourne’s Dorian becomes the anti-hero: avariciously hungry for fame, dangerous adventure and glamorous reputation, whilst slowly, with the devious influences of Lady H (Lord Henry in the novel) and Basil Hallward (painter in the novel, now fashion photographer), sinks into a life of debauchery with fatal consequences.

Basil, played magnificently by Jason Piper as the sexually arrogant and sleazy photographer, creates the striking image that lingers around the memory of this work: a poster image promoting the young, attractively masculine Dorian for a male perfume, Immortal pour Homme. This is effectively followed by a celebrity appearance for Dorian: a send up of the chat show by Jonathon Ross (including the tacky flamboyancy of the four puffs and a piano) and is an ingenious spectacle of Bourne’s inventive skill and imagination. Throughout the production, the poster begins to physically distort as the relationship between Dorian, his lover Cyril Vane, Basil and Lady H begin to reveal the sinister undercurrents of strange rumors, curious affairs and whispered scandals.

Intimate moments of sculptural movement between Dorian and Basil echo images of contact improvisation; a careful investigation and unraveling of their naked flesh that mold, twist and violently wrap around each other in deep affection and sexual tension. Bourne’s use of quirky gesture, colourful imagery and immaculate execution of imagination contrasts these erotically hypnotic sections with high-energy ensemble sections in unison. Beautifully embodied by Richard Winsor as Dorian, this production will appeal to both lovers of the novel and theatre enthusiasts with its ability to capture varying essences of our modern world.

Runs until Sat 24 Oct

Lord of the Dance - Liverpool Empire

Lord of the Dance

Created/Choregraphed by Michael Flatley

Reviewer: Iris Beaumont

When I first saw this show way back in the late nineties I never dreamed I would be fortunate to see it again. Lord of the Dance is a theatrical master piece which had the whole auditorium clapping and tapping ones feet, Michael Flatley's dance troop is a spectacular show of energy and will power. The show is based on the old adage of good versus evil, jealousy and hate, affects people at some point in their life.

Looking at the show content you wonder how it has held a captive audience in fifty different countries worldwide but when you actually see the power of the stars your question has been answered. There were no programmes and no narration to the show so one had to put the story together oneself which soon unfolded with the lead dancer milking the audience with his smile and gesturing to the auditorium and they loved it causing vast lengths of applause

The back drop consisted of scaffolding and curtains which were painted with Celtic signs and many lights attached to the scaffold which flashed in a multi colours throughout the performance, which at times came and shone into the audience blinding us for several seconds missing what we were really there for...The dancing! There were one or two surprises of explosions and fireworks which made people jump but all adding to the overall ambiance. The costumes were minimalistic but very eye catching with a vast amount of glitter but the long blonde wigs were too over powering which distracted and took your eyes away from the actual dancing.

The solo artist had a good voice but unfortunately the actual words were hard to follow as they were never clear enough but she came over as a pretty Irish Callin and wearing the only long dress in the show. One noticed that all the women on the show could hold a smile and dance at the same time while the men found it difficult and would only smile when I think the prompter of stage said smile but it did not in any way spoil the show

The energy the power of the whole show had a enthusiastic captivating magnetic pull on all the auditorium to the extent that they were called back on stage to a standing ovation with the lead dancer still egging the audience on.

If you can visualise Irish folk lore with Irish dancing set to music in a variety show setting similar to the old Sunday night at the London Palladium then you will enjoy this production, I left the Empire having had a thoroughly good time!

Runs until Sat 3rd October

Lord of the Dance - Opera House, Manchester

Lord of the Dance
Creator/Choreography: Michael Flatley
Composer: Ronald Hardiman
Dance Director: Marie Duffy
Reviewer: Laura Asbury

“My dream has been spread far and wide. The unthinkable has been achieved.” These are the forceful, evangelical, narcissistic utterances of the egotistical Lord Flatley himself, quoted in last night’s program next to his smarmy, self-loving mug shot.

Undeniably, the Lord’s critically acclaimed, award winning 1996 production, is a spectacular theatrical enterprise that continues to attract international audiences and this week’s explosion onto Manchester’s Opera house stage will undoubtedly witness a repeat of the show’s usual, somewhat tirelessly predictable enthusiastic reception. However, don’t be lured in by the box office records if you haven’t yet experienced the enterprise firsthand; the show’s curious mix of traditional Irish folklore coupled with its pantomimic delivery, star studded costumes, blonde wigs to convey flowing Irish locks, gaudily luminous lights and low budget pyrotechnics, the production is reminiscent of a Blackpool Pleasure Beach cabaret, at best.

There is distinct lack of coherent narrative with no attempts made to amalgamate the music and dance; scenes episodically shoved back-to-back - variety show style, to the shameful extent that it could be re-marketed as ‘Ireland’s got talent’! To both my horror and sheer amusement: the musicians (two fiddlers dressed in tight sequined dresses and knee high leather boots), despite given their three minutes in the spotlight, failed to perform live and merely mimed a histrionic arm flailing, lip pouting farce along to a backing track. The miming was especially noted when the violinist, who was too preoccupied with gyrating her hips and winking at the blokes on the front row, consequently forgot to come back in at the correct sync time… and miraculously her melodic line continued! A forgivable theatrical faux pas maybe, but in the context of other too frequent distasteful moments, a tad cringing to say the least.

Although Sir Flatley himself no longer takes to the spotlight, he plays an integral role directing his talented army of dancers to ensure unsurpassable standards of military precision and technical dexterity throughout the electrifying tap sequences. The unison en-masse sections are rhythmically impressive due to complexity and variety and they are furthermore, faultlessly executed with flamboyant brilliance and charming stage presence. During one fleeting moment, the girls appear in classical Celtic pinafores and we appreciate their lyrical beauty, the harmonious music and virtuous innocence of the traditionally feminine dance.

Shockingly incongruous to this, mid-number and more importantly - without warning, the music strikes a dirty electro chord as the lights diminish into a passionate red wash and the girls, literally, strip off their pinafores to reveal sequined, primark-esque bra tops and hot pants, the furious foot tapping still continuing! A sullied image of cheap Irish exoticism, the show often evoked a Vegas show-girl/drag queen quality with its hyper sending up of gender stereotypes resulting in a lavishly camp, soap opera style narrative.

Credit where credit’s due however, the production does exactly what it says on the tin by spoon feeding these high energy moments with gusto force. Good Vs Evil is the general message, triumph of course conquering adversity against all odds. The Lord trained his virile lead male dancer well, although he failed to communicate the level of charismatic arrogance Flatley delivered when in the role. Unable to credit individuals due to not one member of the cast credited in the program, was somewhat indicative of Flatley’s diva-esque desire to hog the glory and massage his own choreographic ego.

Overall, a shoddy, cashing in, emotionless, superficial depiction of Irish heritage, Lord of the Dance, in it’s true parodic style, is in fact the living pantomimic embodiment of Riverdance’s ugly sister. The clever thing is, and hats off to the Lord for spotting a hungry niche in the mainstream market, the doting audience simply can’t get enough of the rhythmical tapping extravaganza that we all secretly love, or in my case, love to hate.

runs at the Opera House until Sunday 27th September.

Dorian Gray - The Curve Theatre, Leicester

Dorian Gray by Oscar Wilde
Adapted, choreographed & directed by Matthew Bourne
Reviewer: David Noble

When Oscar Wilde wrote A Picture of Dorian Gray, at the end of the 19th Century, his tale of a man who sells his soul in return for immortal youth, only to find his portrait disfiguring as he slips into a life of hedonistic depravity; he was widely criticized for the “homoerotic undertones” of the text. In fact so much was the Victorian distaste at the main protagonist’s actions, although never mentioned in the novel, that the book was used as evidence in Wilde’s trial for “carrying out obscene acts on another male”. The contrast with Matthew Bourne’s dance adaptation could not be greater. Bourne, who is most famous for directing a male version of Swan Lake, decides bring the tale into the 21st Century, and the “undertones” of Wilde are well and truly abandoned, in what can only be described as an utterly transfixing performance.

Although Dorian Gray begins rather clumsily, with a somewhat clichéd photo-shoot pastiche, Bourne’s fluid choreography soon grips. Dorian’s rise as a model and subsequent descent into an uncontrollable state of lust and passion is portrayed in an eerily absorbing manner, which is heightened by the excellent and wonderfully eclectic musical compositions of David Shrubsole.

Some scenes of Dorian alone, played by the brilliant Richard Winsor, even breach upon the ethereal as he writhes in pleasure at his own beauty. Yet the aspect of the choreography most expertly executed was that in such a dark and chilling story, Bourne was able to transmit some of Wilde’s sparkling literary wit into the piece, a most remarkable feat considering there was a complete lack of dialogue. This surprising embellishment relieved the constant wickedness of the play, and though the depressing denouement inevitably arrived, one felt it was not the drudging procession it could have been.

Lez Brotherston’s set, which consisted of a rotating centre stage divided into two, resourcefully displayed the dissimilarity between Dorian’s public and private life. The sparse feel of the rest of the set coupled with the naked lighting (designed by Paule Constable) ensured the mood of the play could be altered with quite literally the flick of a switch or indeed a rise in tempo of the music, both of which were skilfully utilised.

As mentioned the undeniable star of the show was Richard Winsor, who was simply captivating as the self-obsessed Dorian. He managed to convey a bullish nature whilst also capturing the inner insecurity and vulnerability that possesses the character so virulently.

Michela Meazza’s elegiac performance as Lady H also deserves credit, for she oozed style and grace with every footstep she so casually trod. However, I do feel as if the role of Cyril Vane, played by Christopher Marney, could have been refined in so far as his stereotypically homosexual actions and nuances did not merge fluidly with the nonchalantly bi-curious conduct of the remainder of the cast.

All in all, Matthew Bourne has created a beguiling picture of Dorian Gray, and one that thoroughly entertains. The rhythmic movement and eventual unerring brutality in many scenes craft drama that is visually stunning, and leave one immersed in the unfolding action. It is a technically magnificent and cleverly adapted piece, yet as Oscar Wilde wrote in the preface of this novel, “All art is at once surface and symbol. Those who go beneath the surface do so at their peril.” So I shall leave no further comment!

Dorian Gray runs at the Curve Theatre until Saturday 19th September.

No Way Out - Southwark Playhouse

No Way Out by Jean-Paul Sartre

English version by Frank Hauser

Director: Luke Kenaghan

Choreographer:Kele Baker

Reviewer: Leon Trayman

Satre’s No Way Out (Huis Clos) discusses the lives and subsequent fates of three people. A Journalist, Socialite and Postal Worker. The play opens on an empty cell-like enclosure with over-turned chairs, three tables, a bronze bust, television monitor and intercom.

The Journalist; Garçan (played by Miguel Oyarzun) is first to arrive and has a stilted and awkward conversation with the disembodied voice of an Orwellian Big Brother style character speaking through the intercom. Next is the Post Office worker Inez (played by Elisa de Grey) who – it becomes clear – has arrived expecting a torturer and a room filled with the accoutrements associated with such a profession, but is confused when confronted with a slightly frightened and solitary Garçan. Finally, the socialite Estelle (played by Alexis Terry) arrives, pushed sharply into the room, hiding her face and screaming at what she expects to see…the faceless ghost of her former lover.

Having collected herself, she begins to deal with the situation as though it is all a big mistake; dismissing the intercom voice, telling him “I will ring for you if I need you”. We eventually discover that all three of the characters are dead; and find themselves thrust together for eternity. It is at this point that they all realize that they are here to torture each other!

It seems that the main questions posed by Satre are a) what form of punishment could one receive after death, having committed horrific crimes during life, b) why are human beings so driven by their sexual urges? and c) do the characters find themselves in hell or purgatory? Unfortunately, as an audience member I would have to suggest the latter!

The sexual themes of the piece are catalyzed by Inez’s sexually aggressive lesbian advances and almost immediate infatuation with Estelle. This seems to force Estelle (who is heterosexual) to run into the arms of Garçan – the only man present. Causing what should be a horrendously awkward situation… Stylistically, this production is neither one thing nor the other.

Luke Kernaghan’s experimentation with the inclusion of Argentinean Tango sounded like a magnificent idea in the programme notes, but often clouded the clarity of an otherwise dramatic moment. Almost all movement of the characters was Tango, there were moments of real movement, but the whole piece feels too choreographed. This would be anticipated for a dance production or even – in some cases – physical theatre, however the movements of the actors fail to be a manifestation of the emotional reactions or thoughts of the characters. Whilst proficiently performed, it consistently detracted from the often horrific confessions of characters.

The use of the intercom telephone receiver seemed utterly superfluous as just moments earlier it was clear that the voice could hear the questions and protestations of the characters without the use of the clearly redundant receiver. During the moments of character reverie, often indecipherably faint images were projected onto the stage right wall, but I am unsure whether they were intended to illustrate the images seen by the character speaking, or were images relating to another narrative sub-plot. The performers all work extremely hard, giving muscular and graceful performances, each dancing with ease and focused intention. Sadly these intentions did not make their way the expositional sections of dialogue.

The production lacks the tension and drama that the script cries out for, leaving me regularly checking my watch, just in case I too had plunged unknowingly into purgatory! Unfortunately, sitting in the middle of a row, and in a medium sized studio space, there really was No Way Out!

No Way Out runs at the Southwark Playhouse until the 12th Sept

Edward Scissorhands - Lowry Theatre & Tour

Edward Scissorhands based on the film by Tim Burton
Director/Choreographer: Matthew Bourne
Music: Danny Elfman & Terry Davies
Reviewer: Stephanie Rowe

Matthew Bourne and his company New Adventures, have once again proved they are the best in dance theatre and with Edward Scissorhands this is no exception. This production at the Lowry received a rapturous cheer before even starting but had the audience eating out of its hands within seconds.

Edward Scissorhands is a Gothic story about a boy that is created by and left to cope in the world when his lonely inventor father dies, with only scissors for hands Edwards walk into society isn’t an easy one, with ‘picket fence’ Americans having to look past the appearance and find the real person deep within.

The story flows easily and even though the show is over two hours long you don’t even notice where the time went and this is down to the magic in Matthew Bourne’s slick and sensational choreography and direction, and helped along with one of the best looking sets by Lez Brotherston that I have seen in recent times, his costumes also deserve high praise. The score by Hollywood composer Danny Elfman and Terry Davies is outstanding and really evokes the Gothic atmosphere needed for this production to work. Howard Harrison’s lighting design should also be of note, providing rich Gothic tones and shades to make this one of the best lit productions.

Matthew Bourne has the ability to find a company that really do work as an ensemble and this production is no different, every member of the cast giving 110% throughout the whole show enabling us as an audience to be witness to one of the most original, inspiring and exciting pieces of Dance Theatre.

I’m not a reviewer that usually partakes in standing ovations as often they are contrived by the production or by screaming fanatics but this reviewer was so blown away, that I and the rest of the audience gave it the standing ovation that it rightly deserved. Whether you have an interest in dance, or not. This production is not to be missed and really is one of the theatrical events of the year.