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Within Range

Alex Fitzgerald — Mon, 15 Aug 2011 07:00:07 +0000

‘Within Range’… but of uncertain aim. The piece of physical theatre sets out to explore the recent past on the other side of the Berlin wall prior to its fall.
They make interesting use of multimedia with some alarming statistics about the level of state monitoring within East Germany, which is also used to display a montage of images of leaders drawn from a wide range of sources, all of whom are in some way oppressive in their rule.
The opening is very strong with a dual narration in German and English which is quickly subverted from its initial feeling of menace through the use of humour. This is a motif that is repeated throughout the show.
The mood and drive of the piece is uneven despite good performances being given by the cast of ‘Suspects’. The transition from a whimsical dance routine into a torture sequence is too surreal to be comfortable, the covert surveillance section taken over by the Stazi Department of Silly Walks and then progresses to the heights of absurdity. Additionally one of the potentially most powerful set pieces of the cells, well indicated by lighting, which is not subverted by humour is instead weakened by the blocking, as the sense of claustrophobia is lost when the ‘walls’ do not limit the movements.
A talented cast, but too absurd to be hard hitting, too whimsical to be insightful.

2/5

Roam

Yann Chalmers — Sat, 28 Aug 2010 10:55:21 +0000

Prepare to be dragged deep into the abyss by Tom Dale’s “Roam”. With fog engulfing the stage, the audience and dancers embark on a moving hour-long journey exploring “life’s roaming pulse”.
A highly abstract piece, the dancing flits between high-paced animalism and ineffably precise technical movements, whilst continually retaining this “pulse” that Dale wishes to portray, through the repetition of the same motifs.
The dancers are consumed by an invisible force, dragged and strewn across the stage, with shapes inconceivable to the mere audience. The tempo starts slow, gradually building up with a variety of solo and group performances, some of which are genuinely spine-tingling, especially when accentuated by the superb soundtrack. Produced by bass music stalwart Shackleton and live Drum and Bass duo Sion, the feathery percussion and rolling sub-bass compliment perfectly the mood and expression of the dancing, heightened with some spoken word, from the poetry of Rick Holland. The finale crescendos into jittering jungle breaks and garage grooves, and by the time the performers leave the stage the crowd are in raptures, craving more.
Dale claims that ROAM is “not meant to be read but experienced”, and there truly are very few experiences as rewarding as this show to be had at this year’s Fringe. Simply unmissable.

5/5

Scottish Dance Theatre: NQR and Drift

Scott Robertson — Thu, 26 Aug 2010 12:03:46 +0000

If you go to see just one dance show during the fringe, make sure it’s Scottish Dance Theatre’s N.Q.R. (Not Quite Right) and Drift. This performance is entertaining, thrilling and jaw dropping thanks to some insanely talented dance and choreography.
In contrast to some other Scottish Dance Theatre performances, NQR is filled with fantastic lifts and energetic routines. Not only are these dancers very talented, with flawless technique and incredible grace, but they clearly have a passion for dance which shines through on stage. The two performances are so engaging and clever that they’ll have you on the edge of your seat.
The first piece, a duet performed by James MacGillivray and Natalie Trewinnard, is stunning and a thrill to watch. With perfect choreography and impeccable dancing, it’s hard not to sit open-mouthed in amazement. The lifts alone are unbelievably beautiful and intense to watch, as some look rather dangerous. The second piece, performed by the whole company, is quirky and humorous at points, yet still a beautiful performance to experience. The variety within it also makes it an exciting dance to watch and get caught up in.
Both pieces inspire you to think about life, as various themes emerge from the performances.
All in all, Scottish Dance Theatre is a show not to be missed.

5/5

How to Survive a Zombie Apocalypse: Reloaded

Martin Miller — Thu, 19 Aug 2010 18:38:54 +0000

‘If the dead were ever to come alive and walk the Earth do you think you would be ready?’ is the question pondered by’ How to Survive a Zombie Apocalypse’. A zombie improv-show, it follows Dr. Dale Seslick, who is here to provide a seminar on how to effectively fortify a safe house, who is the perfect survival companion and why the only good vegan is a dead vegan when it comes to zombies. But be warned any silly questions or wrong answers will result in you having your name badge removed and you will ‘die’, unable to offer suggestions and questions for the rest of the show until there is only one lone remaining zombie survivor left.
Its an interesting idea and really adds a playful element to the show that forces the audience to pay attention and enthusiastically get involved with their suggestions.
To help Seslick, are his three funny companions: hard-nosed researcher Judy, simpleton Tristen and aging Donald who cracks on to the ladies in the audience; ‘you know, for when it all calms down and were going to need to start repopulating’. The characters are well rounded, and bring some light comic relief to the Doctor’s logical and insightful talk. They really have put a huge amount of thought into the survival tactics and even the most baffling of questions from the audience is met with lightning quick jokes and answers.
Mixing scripted scenes with audience banter, it manages to be both informative and very funny. Though the humour at times can be a bit on the obvious side and the moronic side-kicks are a little too cartoonish than necessary, there is much to admire in this fun filled and thoroughly entertaining hour.
Get a ticket before the dead get you.

4/5

Still

Scott Robertson — Thu, 12 Aug 2010 09:45:12 +0000

Small Petitklein has choreographed and designed a very thought provoking show called Still. This piece is being performed in memory of one of the dancer’s friends, David Marsh, “who was killed in action in 2008″. This being said it makes an emotional piece for the dancer involved, which is clear throughout her dancing. The stages of the dance each provoking thoughts of those who serving the armed forces in war as well as those directly affected, namely family and friends. The dancers all emoting these thoughts and reactions through their movements.
Although the technique of the dancers is not up to that of a professional dance company it does not detract from the choreography and the thought process of the piece itself. Each dancer has their own unique way of moving in this show, and way of expressing themselves, which again makes this dance company so intriguing to watch.
The second piece in this show is entitled “Thinking Out Loud” which takes the form of a projection. Although an artistic piece to watch, it does not appear in keeping with the rest of the performance. If this element had been any longer than 5 minutes it would have had a detrimental effect on the show as a whole. Perhaps if this had been incorporated within the piece as a whole with live dancers it could have been to the benefit of the overall show.
Still is a contemporary dance show, and for those interested in this field it is a worthwhile show to view.

3/5