This year’s Pulse Festival curated by China Plate made a fascinating start with two one-person shows. Kieran Hodgson’s Maestro takes a wry look at a would-be composer (idol is Mahler, bête noire Rachmaninoff), his social and bi-sexual feelings and fumblings and the whole frustrating business of transforming from child to adult through teenage.
In theory, we should itch to give him a good shaking and tell him to take a grip of reality. In practice, we’ve all built sun-drenched sand castles out of wisful yearnings, tentative romances and might-have-been career fantasies – only to see them washed away by the rising tide of life as it is. Callum, Lucy, Ed, Cécile and Anthony as they float in and out of Kieran’s life (so far) are brought to our notice as though they peopled the stage with him.
All the Things I Lied About by Kate Bonna as altogether more acerbic. As she points out, we live in a post-truth world (though I suspect that it was ever so) where lies are the fuel for everyday intercourse in person or through electronic transmission. It’s another autobiographical show which begins with politics, Brexit and Trump and segues into her parents’ marriage, its breakdown and her gradual realisation of the truth.
Fake news is, of course, not a new phenomenon. Perhaps we asociate it in particular with politicians, but it also can be purely personal. As Bonna demonstrates how multifaceted truth can be – with the aid of audience participation and some interesting lighting effects – her wariness about total emotional commitment is laid bare before us.
Both shows were British Sign Language interpreted. The anonymous interpreter at one side of the stage deserves a festival award in her own right. Not only did she echo evry word of Bonna, she also managed to keep up with Hodgson’s ad-libs – and did it all with an air of actual enjoyment. Top marks.
The Pulse 2017 Festival continues in Ipswich until 10 June at the New Wolsey Theatre, the New Wolsey Studio, the High Street Exhibition Gallery and DanceEast’s Jerwood Dancehouse.
(reviewed at the Jerwood DanceHouse, Iswich on 30 September)
Anything you can do… That is surely the motto of the Candoco Dance Company which opened the autumn DanceEast season in Ipswich. Notturnino is an affectionate glimpse into the world of opera singers in their twilight world (think Harwood’s Quartet) encapsulated in snatches of Verdi and Puccini, especially La forza del destino and Tosca.
Choreographer Thomas Hauert took the 1984 documenary film Tosca’s Kiss as his starting point; we hear verbal as well as musical excerpts from its soundtrack, clarified for an English-speaking audience by screened subtitles. The six dancers, four of whom are physically impaired, swoop across the stage in leaps, lunges and variations on the classical attitude, emphasised by quick-change theatrical costumes by Natasa Stamatari, all vaguely 18th century in inspiration.
Shortend arms, a wheel chair and, notably, two crutches for a one-legged performer prove that disability is no barrier to virtuosity. That single leg and what almost seemed sometimes like four arms emerged from the groupings with star quality. Hauert makes no concessions in either the ensemble or solo sections to his dancers; they return the confidence full measure.
Trisha brown choreographed Set and Reset in 1983; this has been redirected by Abigail Yager as Set and Reset/Reset earlier this year. The dancers wear Celeste Dandeker-Arnold’s flowing and diaphonous grey dresses and trousers as they singly, in pairs and in larger groupings lunge, leap and spin across the stage to Laurie Anderson’s tintabulation-heavy score, suggesting a sequence of human dramas underpinning the abstraction of the moves which we are watching.
The performers are Megan Armishaw, Joel Brown, Tanja Erhart, Adam Gain, Jason Mabana and Laura Patay. Candoco tour both regionally and internationally so, if you happen to be in a place where this double-bill is being performed, take advantage of the opportunity and see it. You don’t have to make mental concessions – the work sets its own high standard – just as any other modern dance company. Rather, it’s up to the audience’s response to match that of the performers.