Solemn yet spotty: Rocco and his piano. Photograph courtesy Montecasino Theatre.
It’s curiously challenging to attempt to pinpoint quite what makes Rocco de Villiers’s work so utterly entertaining and sublimely successful. Not unlike Nataniël, but still holding firmly to his own brand, his is an approach that is light-hearted yet earnest, filled with puffs of effervescent notes yet competent, and deeply hilarious while touching tragic simultaneously. It is also unashamedly lacking in the kind of conventional polish you might believe you need to expect in a revue of this nature.
And indeed, as the show’s title indicates, it is all about the piano – not to mention the indelible image cast into your mind’s eye of a four-year-old Rocco in a white safari suit, upstaging his “unbelievably untalented” music teacher. The upright red little piano sits rather vulnerably centre stage, a counterpoint between de Villiers’s spotted pants and the equally spotted backdrop. Blending his unique brand of story-telling, which will have you rolling in the aisles, with his piano playing, there’s a vicious sentimentality in his narrataive which celebrates Afrikaans’s delicious barbs, that just don’t bear translation.
Introducing a Kawai piano from Japan, and touching on many things from tango to Edelweiss from Rodgers and Hammerstein’s Sound of Music, to his own sweet, delicate and oft jazzy compositions, de Villiers seduces the audience from the moment he’s in the spotlight. And you fall in love with him, with no hesitation. His show is a brand like no other, and it’s as infallible and unshakeable as any household product.
The actress Lauren Botha performs a kind of “magician’s assistant” role, which lacks development, and adds a “take-it-or-leave-it” bit of spice that could have been hilariously developed or omitted altogether.
All About the Piano, crusted as it is with unabashed cliché and sentimentality, doesn’t pretend to be anything more than delicious, light entertainment, with a bite. You come away from it with a grin on your face and a fresh new positive outlook. It’s all that the popular music of the Thirties, Forties and Fifties presented, coupled with prickly bits of Afrikaans.
All About the Piano written and performed by Rocco de Villiers features Lauren Botha. It is at the Studio Theatre, Montecasino in Fourways until April 12.
The Alm-Uncle (Grant Towers) and Heidi (Megan Rigby). Photograph courtesy National Children’s Theatre.
Children’s theatre has the license to take the idea of soppy and stretch it to biblical proportions, which enables adults and children alike in the audience to cry with empathetic abandon, as the characters can declare love for one another with the kind of fierce naïve sentimentality that on a grown-up stage would be laughed out the door on cynical tide.
This happens gloriously in the National Children’s Theatre’s latest production, Heidi in a stage adaptation by Francois Theron. Written in 1880 by Johanna Spyri, the story of the girl from the Alps has been loved by generations of young readers – it was screened on South African TV from 1979, in the form of a Japanese anime series – and is understood to be by far the most popular Swiss piece of literature ever published, but a closer look at it reveals a harsh tale coloured with cruelty and disappointment and the nuances of class in 19th century Europe.
Heidi – or Adelheid, as she is more formally named in smart Swiss society – (Megan Rigby) is a hapless child. Orphaned as a toddler, she is raised by her aunt Dete, who is a governess (Emilie Owen), until she’s about five. And then a job prospect teeters the severe woman into dropping her young niece into the context of her uncle, a man who lives in the Alps with only the goats and the landscape as succour (Grant Towers). The uncle, a big, bearded man has a reputation for being scary, one that he honours with aplomb, treasuring his solitude, as he does.
No sooner is the little girl settled in the magnificent Alps, where she gets to laugh and play and imbibe the air and goats’ milk alongside goatherd Peter (Dale Scheepers), to say nothing of exposing a secret part of her grandfather’s heart, a situation under the stern eye of aunt Dete develops for her: to be the companion to a young wheelchair-bound girl, Clara (Caitlin Salgado), in the posh city of Frankfurt, and once again, the child has to undergo an emotional volte face to confront a whole new world and figure out where she fits into all of it.
While the work is coloured by stereotypes – all the governesses are merciless to the point of sadism – the narrative is conveyed with an authoritative directorial pen. The complexity of the tale is handled with wisdom and an intimate knowledge of the theatre’s audience: whilst it grapples with difficult abstract concepts like death and love, immorality and class discrepancy, it does so adeptly, offering the story in clean lines and balancing it with musical forays, which sparkle with sincerity, but never overbalance into too much schmaltz.
Choreographically and musically, this is a large work, which belies, but doesn’t undermine the theatre’s tiny space. The gestures are wide and generous, the songs sung with a bigness of force and the dancing is celebratory: half close your eyes and you can imagine it all happening on a grander stage.
And challenges of the tale itself aside, once again, the theatre presents a delicious young cast headed by Megan Rigby in the eponymous role opposite Grant Towers as the uncle with a secret inner life. The casting of these two newcomers to South African theatre is absolutely impeccable and both rise to the occasion, articulating the bold emotions, yet three-dimensional sense of spirit of both fairly complicated characters with conviction and intelligence.
Heidi, written by Johanna Spyri in 1880, is adapted and directed by Francois Theron. It is performed by Daniel Fisher, Jana Louw, Venolia Manale, Emilie Owen, Megan Rigby, Caitlin Salgado, Dale Scheepers and Grant Towers, and designed by Graham Brown and Stan Knight (set); Rowan Bakker (musical supervisor); Nicol Sheraton (choreography); and Jane Gosnell (lighting), and performs at the National Children’s Theatre, Parktown until April 12: 011 484 1584.
They stand in a stripped bare John Kani theatre, which allows your eye to rest on and explore the architecture that has been witness to so much drama over decades. Surrounded by more than 20 plastic crates, some apples and a couple of swaths of material, these four astonishing dancers make mockery of the notion of gravity as they boldly and succinctly explore masculinity in all its nuances.
Easily the finest piece on Dance Umbrella’s stages this year, Ngizwise (a word in isiZulu meaning “let me taste/help me listen”), choreographed by Moving Into Dance Mophatong stalwart, Sonia Radebe, and Canada-based Jennifer Dallas is a work that manifests sheer and astonishing dance polish in all the right places. While it doesn’t over-intellectualise, it celebrates the various contradictions with which the idea of masculinity is historically fraught – from faction fighting to confronting femininity, from being boys to being men. The dancers, Oscar Buthelezi, Teboho Letele, Sunnyboy Motau and Muzi Shili demonstrate a warm camaraderie rendering the work, which is constructed with word, gesture and sound, a celebratory event, easy yet complicated on the eye and the heart.
In an odd and ironic way, this dance work evokes the dynamism between four very different men, as was achieved in Pale Natives, a play staged in this theatre, under the direction of Bobby Heaney some months ago. Like that play, this danced piece probes what ultimately it is to be a man. Is it in the preening gesture of the beautiful musculature of a young, healthy male specimen? Is it in the manner in which a man can raise his voice or the platform of another, to attain a level of superiority? Is it in the brazen expression of bravado? Perhaps it’s in how a man can wear a skirt and headdress and still not lose the masculine sheen. It’s all of this and much more.
Articulated in isiZulu, the work is not 100% accessible to everyone in the audience, but if you listen to the tone of the language and watch the sway of the gestures, you gather and hold what makes the stuff tick. The work is neither obvious nor crass, but in allowing the jubilant sense of humanity of each of the dancers to have voice, profound tribute is paid to the choreographing and training work accomplished over the years by Sylvia Glasser, founder of MIDM, in terms of how the work is structured and evolves with deliberation and precision.
It is backgrounded by music which evokes the same piano chords being struck with vehemence and resonance, repetitively, hauntingly, not unlike a musical phrase central to Stanley Kubrick’s film Eyes Wide Shut (1999). While this could jar the work, it doesn’t, as it offers a serious counterfoil to the movements, allowing word, movement and sound to overlap and interplay with wit and charisma.
Further to that, the use of lighting brings magic into the mix. This is an astute and complete piece of dance, in which Radebe and Dallas unequivocally demonstrates their developed and convincing sense of authority as choreographers: it is the kind of work which sees Radebe stand out as a professional in the South African discipline, who understands and relishes the poetry and rhythm of collaboration. And the kind of work which restores hope in the institution of Dance Umbrella.
Ngizwise is choreographed and conceived by Jennifer Dallas and Sonia Radebe in collaboration with the performers, Oscar Buthelezi, Teboho Letele, Sunnyboy Motau and Muzi Shili. It features design by Wilhelm Disbergen (lighting), Veronica Sham (costumes) and Teboho Letele (music) and performed at the John Kani Theatre, Market Theatre complex, on March 14 and 15.
“The work begins outside”, people state as the crowd shifts and flows to the quasi-amphitheatre just beyond the foyer doors, and they are silenced in what is arguably one of the more beautiful, elegant and ironic starting points to this year’s Dance Umbrella. The choreographer/performer Nelisiwe Xaba is dressed in blond hair and a neck piece with donuts peopled by small human characters made of sugar and depicting various cultural groups punctuates her form. She walks majestically, her face utterly dead-pan, to the sound of the triumphal march from Verdi’s Aïda and immediately the tone is cast: a black woman commenting on exoticism and the spilling of racist rhetoric into the contemporary world. The point is clear and the gesture is flawless. The work could have ended there.
And maybe it should have. But for some extraordinary moments which used a parachute-material bivouac as a vessel and a screen, containing whilst it projected image and film and song and words, the work loses its momentum quite quickly and spirals into the soporific, relentlessly and irretrievably.
It’s based on an archive of exoticism in German dance, presenting the work of Sent M’Ahesa, an idiosyncratic and bold performer of the early twentieth century, who became lost to the trajectory of dance history, possibly because it was performed beyond the pale of historical expectations of its time. Looking at the slides of M’Ahesa’s work, you might think of visual artists or performance artists of the same era of the ilk of Elsa von Freytag Loringhoven or Meret Oppenheim. There’s a sense of bizarreness and tradition-smashing. What these women did was alarming and frightening for their audiences: Xaba’s work is neither of the two. It is laconic and ironic — appropriately so, because she’s operating from within a post-post-modernist reference point, but it then skitters into the boring.
The work in the auditorium begins with a brief lecture by Dr Eike Wittrock about this strangeness in European dance, and it has points of sheer elegance, humour and beauty, which blend Xaba’s deadpan expression with historically popular songs from German, Asian and other traditions that present deeply racist overtures, with a resounding innocence. The combination of these disparate emotional triggers is scintillating. But other than a showcase of different odd nuances, it doesn’t reach beyond its own confines in this work.
Unforgivably low points in the work are a set of still images projected to music, and the weak tailing off of the piece, which finds Xaba sewing what looks like tampons onto her costume. She’s focused on the sewing. You’re looking at her, and slowly but irrevocably, your eyelids begin to droop: it’s not clear what you’re looking at, or why you’re looking at it.
This work was developed in Freiberg Germany, on a residency; while the material seems rich with possibility and expectation, it doesn’t feel like it has been as rigorously interrogated and stretched as we have seen Xaba do in the past. She’s a supremely elegant and sophisticated performer, but this work simply does not deliver on all its promises.
Fremde Tänze is choreographed and performed by Nelisiwe Xaba, with videos by Frédéric Koenig, Lukasz Pater and Tasmin Jade Donaldson, with costumes by Franziska Jacobsen and lighting design by Oliver Hauser. It performs at the Dance Factory in Newtown until March 15.
Whoever you are, by virtue of the fact that you exist, you have a father. He might not have raised you. He might not be alive any longer. He might have been the source of sadness or horror, happiness or love. This is not one father we see reflected in Nora Chipaumire’s dynamic Portrait of Myself as my Father, it’s every father.
Danced by members of Zimbabwe’s foremost dance company, Tumbuka, the work embraces the theme of masculinity and fatherhood without slipping into the didactic or obscure. While the narrative is not completely clear, the dervish-like dance constructs designed in a diptych format will sweep you away completely, leaving you exhausted but exhilarated.
The nine dancers lope quietly into the auditorium, dressed in an approximation of men’s suits and bare feet, onto the stage like a troupe of ghosts. There’s a focused sense of efficiency in this work which takes place on a stage covered with soft red sand punctuated by a single shaft of square light: the boxing ring.
The dancers never teeter into this space: lending it a sense of the ineffable, the sacred. Its role in the masculinity narrative is not unpicked and it remains a glorious mystery in the work, that you don’t need to understand, but something that your eyes and mind keep reverting back to.
Catherine Douglas is cast in contradistinction to the rest of the company: she alone articulates the second half of the diptych and while we’re never given the reasoning behind the discrepancy between the two sides of the work, this dancer, physically shorter than the rest of the cast, carries the weight of the whole work with a sense of dignity and authority that makes it really hard to pull your eyes from her. It’s quite an astonishing feat: the movements she makes are not as flamboyant of those of the rest of the cast; they’re humble and gestural, and while you’re wowed by the speed and cohesion of the men and women in the company, you’re silenced by Douglas.
Further to that, the work features live music interplayed with piped music and truly delicious things happen in the Zimbabwean and European sounds that are cast together and allowed to flow through the work. If you listen carefully, you can hear jazz riffs and musical phrases from Stravinsky’s Rite of Spring. You can hear contemporary dynamics knitted together against a backdrop of Zimbabwean chords.
Arguably, up there with Rachel Erdos and Sunnyboy Motau’s fight flight feathers f***ers and Mamela Nyamza’s Wena Mamela as this Dance Umbrella’s unequivocal jewels, Portrait of Myself as My Father sweeps you on the back of a kaleidoscope of dance values, constructed with a mature sensibility and a developed love of the discipline. Hopefully this country will get to see more of Tumbuka’s work, more of Chipaumire’s material and certainly more collaborations between Tumbuka and Chipaumire.
Portrait of Myself as My Father is originated and choreographed by Nora Chipaumire. It is danced by Ndinei Alfazima, Maylene Chenjerayi, Catherine Douglas, Snoden Filimon, McIntosh Jerahuni, Alexio Matambo, Chido Mukundwa, Stanley Wasili, Caroline Yule and Carlton Zhanelo, from Tumbuka Contemporary Dance Company and musicians Fatima Katiji (voice/hosho), Tatenda Mapaso (guitar) and Sinyoro (hosho). Directed by Anna Morris, it features design by Chipaumire (costume and set); Philip White (sound) and it performs at the Dance Factory in Newtown until March 8.
The money shot: Gavin Krastin burns some cash. Photograph by John Hogg.
Robyn Orlin could do it. So could Steven Cohen. And the Doobie Boobies under the direction of Mark Hawkins held articulate and convincing sway on this too. What is it that Gavin Krastin and Alan Parker lack in this discipline of rough burlesque and counter-dance? Is it a depth of ironic focus? Is it a lack of pathos? Are they too young? Or too pretty? Perhaps their sense of an evolved self-mocking gravitas is not fully formed. It’s difficult to pinpoint, but their latest work On Seeing Red, push all those audience buttons of disrespect and unresolved sloppiness, while it attempts to describe a framework of counter-seriousness and misses.
Seating an adult audience on the floor is always a bad starting point. It’s ill-mannered and unnecessary and it’s curious as to why the work could not have been contained in a regular seated space. But then, the room, filled with blow up palm trees and lots of shiny purple stuff, explodes with a drunken sense of burlesque introducing karaoke, hammering drag references home with a sense of tawdry glitter and a repetitiveness that makes the opening song of Cabaret into a mantra.
From this point, however, the work degenerates into a horrid and silly miasma of sanitary towels and plastic flowers, spilled custard, burnt money, wine and blood, amongst other things. The work grapples with the idea of light years and the conflation of time and energy in a ham-handed, unconvincing way, as it steps on the toes of territorialism, offering an unsatisfactorily tiny evocation of a work they created in 2012 called Cellardoor.
That work had memorable potential: sadly On Seeing Red doesn’t exploit its gaps, but rather tramples on them. When you read the programme notes after seeing the work and need to check again if this indeed is a description of the cheap and nasty bits of self-indulgence you’ve just seen, something’s amiss.
On Seeing Red doesn’t actually make you see red or feel real anger. Complete with a blow up plastic shark that turns into a frock of sorts, a jumping castle for toddlers that is made to evoke a burning down house, a bit of Piaf and a lot of too long transitions between the work’s components, it makes you physically uncomfortable and irritated. It’s like Steven Cohen denuded of his intent and content and on happy gas. Krastin and Parker’s audiences deserve better. And I’ll never get those 45 minutes of my life back.
On Seeing Red performed as part of the Dance Umbrella 2015 at the Barney Simon Theatre, Market Theatre complex on March 5 and 6. It features concept, direction and design by Gavin Krastin, with creation by Alan Parker and Krastin and sound design by Shaun Acker and was performed by Parker and Krastin.
She’s already dancing in a milky grey spotlight when you walk into the space. Amid the noise and rustle of an audience settling into itself and talking and laughing, she performs in a curious silence, marked by facial expressions at once comic and a little frightening. There is music: a selection of tuneful classical music played by the former South African National Symphony Orchestra, but it is not played in tandem with her movements and it skirts between European and South African popular tunes.
Mamela Nyamza is one of those performers who work with such an intelligent energy and honed focus that it feels she cannot make a wrong move. There’s an internal ‘engine’ in her focus, a wise and tempered celebration of both what is dance and what is ‘undance’.
This work, Wena Mamela is engaging while it’s thought provoking; it’s beautiful yet ugly; it blends visual humour with discomfort; and crudity with sophistication. And in posing very pertinent issues around identity and colonialism, it never allows itself to slip into too didactic a mould. Above all, it focuses on a level of vulnerability for this sole performer/choreographer onstage that you shiver in the realisation of its bravery. But having said all of that, the work is not balanced or placatory. It grapples with itself and feels unfinished. And yet in being so, it is all the more fierce and real. This is autobiographical dance on a par with some of Lille-based performance artist Steven Cohen’s outspokenness.
Several years ago, performance artist Hlengiwe Lushaba created a work in the foyer of the Wits Theatre which blended impromptu dance with an engagement with her own name and the curious and offensive ways in which white people ask its meaning as they break their teeth trying to pronounce it. The work was astonishing and bolshy and fresh and timeless. Nyamza does something similar here, pushing the insensitive and judging questions that she’s been plastered with all her career: they’re rhetorical in so many respects and invasively probing into her private life, her self-opinions, her decisions.
The concept of the spectacle is always forefront in this work which blends an understanding of exoticism whilst it does not pretend to be anything other than a work onstage. We have pot plants that conjure a jungle and a puppet worn on Nyamza’s back that gives voice and presence to an alter ego, but there’s an engagement with the presence of the camera that evokes a sequence in one of English film director Peter Greenaway’s works, where the act of capturing someone with a camera is metaphorically aligned with the idea of rape.
Armed with a plastic dress, gold shoes, a hard hat and sunglasses and a luminous green bikini, she grins and poses and makes an imitation of the noise of a camera shutter with her mouth. She does it again and again, and a frenetic fever pitch overrides her, shifting the gesture from placid and commonplace to sinister and disturbing.
The puppet she wears presents a stereotypical tribal woman. Bedecked with some acid yellow feathers as a coiffure and with breasts and arms akimbo, this figurine embodies an identity which makes you laugh with poignancy and yet feel that there’s something deeper, something primordial being accessed here. She becomes the essence of the piece and is performed with an empathy that you will recognise and instinctively warm to.
By and large, this powerful and gentle piece sums up so many of this dancer’s personal and political challenges up to this point in her career. It’s roughshod in ways that engage, yet it lends a physical humour to an understanding of stereotypes that is both visually appealing and haunting. It’s the work of a mature practitioner who knows herself well but hasn’t the time to rest on her laurels.
Wena Mamela is choreographed and performed by Mamela Nyamza with puppet design by Janni Young, and lighting by Frans Zunguze. It performs at the Dance Factory in Newtown until March 6.
Poised: Grant van Ster (left) and Shaun Oelf opposite Thabiso Dinga in The Architecture of Tears. Photograph by Dex Goodman.
Mixed programmes in Dance Umbrella always hold that frisson of possibility and that lucky packet threat that is about how the works on the programme relate to one another, as well as what you are left with at the end of the evening. Sadly the wretched acoustics in the Dance Factory leave you with the harsh resonances of low frequency static that you hear with your bowels and teeth, and that make you cringe and hurt physically, but happily, the work on this evening’s agenda was strong enough to offer a counterbalance.
Ananda Fuchs’s The Architecture of Tears is a piece nearly two years in the making which aims to meld a series of microscopic photographs of tears by Rose-Lynn Fisher with some extraordinary dance work, music and social commentary and by and large, it is successful. Grant van Ster and Shaun Oelf dance opposite Thabisa Dinga in choreography that is satisfying on the senses and speaks beautiful volumes of relationship permutations and loss and loneliness as it grapples with tears of joy and all kinds of different ways in which the three bodies blend and embrace and explore one another: it’s about emotional relationships as much as it is about physical ones, but the work never wanders into the lewd or explicit, which serves to push it over into a little too sanitised a sense of abstraction. While there’s immense beauty here, the abstraction can sometimes serve to temper a sense of meaning or clear narrative and might lose you, in the audience.
Something bigger is lost, however, in the way in which music pieces segue – or rather don’t segue, leaving the dancers in silence for a few transitionary seconds, which doesn’t bode well for the work’s flow.
Also, while the photographic images on screen are fascinating – they’re views of tears by Rose-Lynn Fisher, there’s no engagement with them. We see the same images repeated and the dancers are doing amazing things, but the visual and dance-stimulated gestures don’t fall logically hand in hand and while you’re transfixed by the movement and the manner in which each performer holds his or her own emotions with a glowing preciousness and the irrevocable beauty of trust, you clap heartily but leave perplexed at the images themselves, which form conceptual question marks in the piece.
Not since a very young Athena Mazarakis choreographed an astonishing fight scene in a version of A Clockwork Orange have we seen such articulate and mesmerising fight choreography as that created by Sunnyboy Motau and Rachel Erdos in collaboration with Moving Into Dance Mophatong performers in fight, flight, feathers, f***ers, the second half of the double bill.
An essay on the conflicting and contradictory challenges of masculinity in a contemporary world, the work ably brings together a sophisticated reflection on what is foe, what is friend, and what is ambiguously neither and both, with the curious and ingenious use of masks. These masks evoke Anubis, the Egyptian wolf-god of the dead, as they lend an effulgent sense of darkness to the works. Feathers are not only a metaphor, but spin from clichéd softness into an aggressive taunt which you will struggle to pull your eyes from.
While fight and flight choreography lend the piece its fire, there are elements that reflex a complex intertwining of bodies that is completely enthralling to behold and will make you think of local traditions of wood sculpture – by the likes of Noria Mabasa – in which one piece of wood is worked in such a way that many intertwined bodies are evoked. These four men – Muzi Shili, Oscar Buthelezi, Teboho Letele and Eugene Mashiane – demonstrate a level of give and take and call and response that is truly a privilege to witness.
A piece that might make you think of the recent play, The Three Little Pigs, directed by Tara Notcutt, which has performed all over the country and world, over the last few years, flight, flight, feathers, f***ers demonstrates an anthropomorphic facility which is at once direct and crude as it is deeply evolved and sinister. Coupled with utterly perfect lighting which enables the dancers to splay off into a whole community of shadows big and small, this piece is a magnetic tour de force, bruised only slightly by sound which is too harsh and too unmodulated in this space.
Double Bill comprised The Architecture of Tears and fight, flight, feathers, f***ers, and performs at the Dance Factory in Newtown until March 4.
The Architecture of Tears was choreographed by Ananda Fuchs and company and performed by the Figure of Eight Dance Collective. It was performed by Grant van Ster, Shaun Oelf and Thabisa Dinga with costumes by Jen Stretch, lighting design by Ananda Fuchs and music by Max Richter, Vivaldi, Rachael Boyed, Jona Kvarnstrm and Danny Cudd/Markus Johansson.
fight, flight, feathers, f***ers was choreographed by Sunnyboy Motau and Rachel Erdos and performed by Muzi Shili, Teboho Letele, Oscar Buthelezi and Eugene Mashiane, with lighting design by Wilhelm Disbergen, costumes by Kyle Roussouw and music compilation by Teboho Letele.
Does someone in the audience actually have to die in the context of contemporary dance before the dance establishments take notice of how audiences are being abused? Or should audiences of a festival like Dance Umbrella be restricted to young academics, who are under 40, physically robust and impervious to anything?
More and more blatantly over the last 16 odd years that I have been writing about the discipline, I have watched some contemporary dance insinuate itself into the audience in a way that not only speaks of lazy choreography and sensationalism, but downright disrespect towards and abuse of Joe Public through either the effects of excessively loud noise; intolerably bright lights, particularly strobes; smoke, either real or artificial that will make anyone feel the urge to get out; or the disregard for one’s personal space in a dark unfamiliar context: all of which are elements that could very easily push a person with sensitivities over the edge.
And my question becomes who is the dance audience supposed to be? Several years ago I angrily lashed out at a work in a review, saying don’t touch me with your fingers: touch me with your work; with your developed intellect, with the beauty of your dance.
And now I say it even louder: enough of the gimmicks and bright lights and technological side shows. Enough of the masturbatory bits of self-reflective self-indulgence. Enough of poorly thought through power plays that make me suffer and feel frightened as an audience member because you deem it so.
When I have to be witness to a murdering of Igor Stravinsky because the sound track of a work is so loud and distorting that I feel that my nose will start bleeding if I remain in that place for one minute longer, that is not a good sign. When a million little lights are shone into my face, supporting a silly tale about rape and drugs, to the point where I go all queasy and feel the urge to vomit, that is not a good sign, either.
If a work features so much digital snow and static dance gestures that you get the urge to stand up and shout “I can’t take it any longer!”, that is also not a good sign.
My question is, has this kind of work forgotten that there is actually an audience? Or should it be framed to only invite the hardy arty lot who are under forty and think that gunshots and strobe lights in a confined space are fun and witty things to experience? My feeling is that dance that relies so heavily on audience participation, on pushing strangers around in the dark in unfamiliar territory is really frightening for an audience. But would the work still exist in the absence of that audience? And if not, what then is the work?
It’s a little like that philosophical question about trees falling in forests, only contemporary dance, unlike trees in forests, is the kind of discipline upon which careers are balanced and funding gets justified. And audiences are entities that comprise adults who have their own powers to respond to this level of abuse – by taking legal action and suing work that has not forewarned them of physiological assault they will be subjected to during a performance – as would be done in many western countries.
While the establishment is very quick to point out the unspeakable horrors of nudity – we as a society have yet to get over nipples, let alone <<Shock! Horror!>> penises in an artwork – or the use of live animals on stage, it doesn’t tell you how offensive the environment will be to you physically or psychologically. From where I sit, it looks like a simple lack of manners: Why are there no disclaimers in programmes and press material explaining the potential ill effects of things like strobe lights and sound that is never reigned in?
As it stands, it seems that Dance Umbrella should stop promoting itself to the general public and only invite the selected few: young people who are mentally, psychologically and physically resilient enough to be willing to sit through rain and muck in the name of art. I resent being pushed around in a dance piece or being told only as I enter the space that strobe lights, burning imphepho and no seating characterise this piece. It’s too late: as Joe Public, I want to be given the chance beforehand to make my own decisions about whether I want to be there or not: I’m not up to be assaulted by your work.
Dear choreographers, the more you try and freak me out, the more you will chase me away. The Dance Umbrella needs audiences. I’m not saying that the work needs to soften into nonentity or pretty nicety. I’m saying choreographers need to take the matter in hand and be responsible. And to take heed of that fourth wall in a theatre. It exists and a paying audience has the right to be respected for who they are and the role they play in the industry.