It acknowledges and celebrates the flow of gravity and of fabric and the use of the fingers, hair and the expressions of the face in the material. And with all the sturm and drang of excesses and morals, values and torment, the dancers are consistently deliciously light on their feet.
It is in the crisp performance, the impeccable timing and the energy between Kabwe and Elderkin that render this work unforgettable. If you have loved and lost, if you have watched an illness become something that overflows the margins of being, , this play will speak to you. And haunt you.
This story has a weight that cannot be told with a clean chronology. It’s about love and loss and big promises which are devastating and seismic to keep. It’s about holding on to the things that matter and the memories of love on a light tower in a music festival.
Ultimately, Rise 76 attempts to tell too many stories but invests in none. The second part should have been fermented, sat in, frustrated, dilemma-rised, dismembered, put back together again and then had the chance for its creative team to be left conflicted as to what in the fruits they had.
Movement doesn’t need a thesis statement. The imagery that Transcendent shapes is unmistakeable, evocative and simple. It need not be anything more. Movement cannot lie. A single move can make you as powerful as it can make you vulnerable. And the performers beautifully hold this tension between power and vulnerability.
With direction and choreography recreated by Rusty Mowery, the show maintains a fast-paced rhythm, balancing large ensemble numbers with more intimate character-driven scenes. You’re never in doubt about what you’re getting: a Cinderella-style love story wrapped in Beverly Hills fantasy, complete with shopping montages, operatic indulgence, and sweeping emotional payoffs.
Maqoma’s work has a tendency to leave you trembling in anguish. It’s an earth shattering experience you might not be able to rationally find the vocabulary to describe. How could it be possible to say so much with just music and movement? Genesis may take you deeper you believe possible.
Ramsay is utterly formidable in this role, which brings out an immense yet delicate sense of nobility coupled with almost crippling vulnerability, and all hidden beneath the tight facade. With a profile rendered regal and indomitable by an astonishing a wig, Ramsay paints a Callas fearless, cruel, funny, irrepressibly human.
The text is penned by people much younger than Homer, which presents a flattening of the old narratives, and a simplifying of them into platitudes of anger that sees the bashing up of guys perceived to be worthy of a good bashing up, or better still, a very violent death.
Featuring phenomenal performances by Alice Findlay, Oratile Manamela, Nicola Shapiro and Ketsia Velaphi, it takes on the repetitive nature of a boarding school ethos, punctuated by gossip and politics, lessons which are both rote-based and morally confusing, and the drugs, sex and other illegal experiments conducted in the school’s interstices.
ansunecilliers
beckkglass
Chester Miggels
Gillian Rennie
elizhanduvenhage
erinventer02
Geoff Sifrin
godukazinobulali
henricopg
huibrechtdehart
isabeausophiajoubert
jessicajoubert
Kapisha Ramraj
kaylamullerr
matthewvanderwalt
meereieliefde
olgalouiselemmer
Palesa Moore
Peta Kaplan
Robyn Sassen
Saleemah Shaik
saleemahsketches
shanelschoombee
thembanhlapoart
Willem Pieter
zainabchoonara
Recent Comments