Fire Shadow Silence Jessie Brett
I know better Luis Gallo Mudarra
The necessary ingredients for effective dance theatre were liberally scattered across this trio, each combining to create a well balanced, entertaining and satisfyingly diverse programme. Closest to the complete package was Rhiannon Faith O'Brien's skittish and entertaining treatise on four women's quest for love: we had Sarah experiencing the frantic flurry of butterflies at each encounter with a potential Mr Right; Alex, happy with her own solitary sexual fulfilment; Vicky, who marries her perfect cardboard man (a life-sized portrait of Martin Johnson when still playing rugby); and Malvina and Michael, a couple insanely in love, but emotionally unsuited. Each story was accompanied by a live band playing lyrical rock songs and linked together through narrated text that both explained and philosophised. An eclectic movement range included intense, emotionally challenging duets and tightly controlled ensemble dances, punctuated by humour, which didn't always hit the spot because the narration was too rapid and without sufficient emphasis. The five dancers gave engaging performances with Malvina Tam's outstanding fluid elegance being especially striking.
Jessie Brett's biodance of Tina Modotti - actress/ photographer/ revolutionary communist - was thoughtfully produced, maximising the atmospheric feel of the period with simple but effective devices. But, it failed to progress after an arrestingly evocative start and although the production values were high, the dance content was unmemorable. It is a piece that could - and should - be developed further.
I was also intrigued by Luis Gallo Mudarra's neatly observed take on three generations of women living together. The pivotal role of the Grandmother (Joanne Clare) was especially powerful, contrasting a difficult multifaceted relationship with her daughter (Anita Tsvetkova) against the unconditional indulgence of her granddaughter (Jana Isakova). Mudarra gets his point across through pure dance and there were some distinctive moments: an entwined trio where all appeared to be one rippling body with three heads and a couple of brash, acrobatic pirouettes by Isakova, holding her non-working leg vertically at 12 o'clock through the spin. Another work I would happily see again.
Graham Watts
Quirky and audacious, Love my Bones is a riot of sound, movement, drama and comedy determined to recreate the tumultuous, feelings of adolescence in its audience. Evidently a fan of Jason Reitman's film Juno, choreographer Rhiannon Faith O'Brien borrows much of the soundtrack to create this equally youthful work. Guided by an over-bearing narrator, four short-skirted girls and a gangly male thrash about the stage exploring their sexuality in time to the cool sound of an on stage band. The choreography is a natty mix of gestural movement punctuated by a sequence of beautiful, emotionally charged duets between Malvina Tam Mei Wah and Michael Barnes. The transfixing duo performs a series of slick lifts, sadly rendering the rest of the talented ensemble obsolete.
Jessie Brett appears to share O' Brien's crisis of choreography confidence. Where O' Brien expounds her work with hefty narration, Brett uses a series of subtitles to explain her piece Fire Shadow Silence. Based on the life of Tina Modotti, Brett's work tells the story of the actress turned war photographer's life and mysterious death. The audience is presented with two contrasting women: one sanguine and youthful the other grief stricken. After a series of poses for an invisible camera they come together in an agitated waltz, danced to a suitably melancholy soundtrack. Subtle and haunting Fire Shadow Silence draws the audience in but regrettably never leads them anywhere.
In contrast to Brett's piece, Luis Gallo Mudarra shuns subtlety in favour of the literal in his work I Know Better. Representing three generations of women, a trio of powerful dancers take it in turns to follow and lead each other to an irritating soundtrack, reminiscent of a keyboard demo. A whirlwind of shoving, pushing and clumsy interaction ensues as the dancers predictably attempt to break their family ties. Moments of calm and tenderness are a welcomed break but short lived before the dancers return to their frenzied motion, ending abruptly.
Jennifer Teale
Rhiannon Faith O'Brien: dancingtheatrecompany, Love My Bones
Jessie Brett, Fire Shadow Silence, photo Ras Hagen
Luis Gallo Mudarra, I know better