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Fringe 2004 Reviews (2)
White Out / Chaconne En Re
Mineur
P.A.R.T.S. Brussels
Choreographed by Koen De Preter and Chloe Attou
pend fringe @ gateway (venue 7)
***
This piece of dance/movement theatre is actually two separate pieces,
each approximately fifteen minutes long.
While both are dramatic, the language barrier may prevent audiences
unfamiliar with French from understanding the first piece, taking its
cue from a piece of heavily dramatic, almost spoken-word vocalizations
set to music.
The challenge faced by a single performer trying to communicate an
idea to an audience without words is no doubt a large one. Koen De Preter
grabs the attention of his audience with a dramatic beginning, but fails
to take full advantage of the space available in the Pend, mostly restricting
his choreography to a semi-repeated series of motions that take place
along the performance space's center axis.
In contrast, Chloe Attou begins dynamically by outlining the space
and taking full advantage of it. Her piece, which is performed to wordless,
music, makes a more immediate impression on audience members purely
because of the obvious physical skill she exhibits: handstands (a one-handed
one in particular), dramatic leaps, and an uninhibited willingness to
use her entire body distinguish this piece from the first.
Dance aficcionados will find both halves of this piece captivating,
but those unfamiliar with movement and dance theatre may find White
Out / Chaconne En Re Mineur a bit difficult to penetrate.
Please note: originally this review attributed the first piece to
Andros Zins-Browne. We now find that this was an error and we unreservedly
apologise to him for the mistake.
Rachel Lynn Brody
Dancing with Dragons
ITheatre
Devised by Joni Tham, Adelynn Tan, Jonathan Lum, and Eleanor Tan
Directed by Brian Seward
C (venue 34)
***
Children's theatre is a tricky province. Play too much to the kids,
and a company risks losing the attention of the adults who are willing
to bring them. But with an engaging blend of fun and humour, ITheatre
avoids this issue by presenting a wholesome but mischievous selection
of fairy and folk tales from a selection of Asian and other Pacific
Rim countries.
The performance area is mostly bare, with a few tree trunks and rocks
placed around. These are used by the company of four as they become
different animals, people, and plants to take the audience on a tour
of some popular children's myths. They kick off (after a startling entrance
through and over the seating area) with the story of the Brahmin and
the tiger, in which a fierce tiger learns it doesn't pay to go back
on one's promises. Later, they look at what happens when a person (or
in this case, a prawn) kicks off a chain of malicious events that effects
a wide number of other creatures.
The latter half of the production tends to lag, though kids' interest
was revived suddenly with the introduction of water pistols (warning
- you might want to wear a raincoat!) late in the final story.
Colorful costumes (designed by Mothar Kasim) and the on-stage musicians
(Feri Susanto, Serene Tan, Serene Seow, and Jacklyn Soo) playing a range
of instruments ranging from the traditional wind and percussion to modern
day guitars, create a fantastical atmosphere where children will be
able to immerse themselves in the fantastical world of these eastern
legends.
Dancing with Dragons plays at C (venue 34), 4-14 August 2004
Rachel Lynn Brody
The Strange Case of Dr. Jekyll
And Mr. Hyde
Velocet
Adapted for stage by Adam Brace
C (venue 34)
***
Two performers, a sweltering theatre space, and a surprisingly faithful
(in spirit) adaptation of Robert Louis Stevenson's well-known novel
make The Strange Case of Dr. Jekyll and Mr. Hyde a funny and
creepy evening.
Unlike the Broadway musical, Adam Brace's adaptation stays largely
true to the form that Stevenson's novel originally took, tracing the
investigation of Dr. Jekyll's (Thom Disney) friend Gabriel Utterson
(Tom Stuart) as he tries to discover the fate of his dear friend.
The two actors play a variety of roles, and while more complete transformations
between characters might be possible the job done here is certainly
clear and precise.
With no set, and costumes that remain the same throughout the performance,
Stuart and Disney are skillful at creating the impression of their characters'
travels through London.
Of particular note are musicians Mike Collins (on percussion and vocals)
and Paul Rains (reed organ, zither, and special effects), who sit to
one side of the stage in top hats and suits, often interacting with
the actors for comic effect.
The Strange Case of Dr. Jekyll and Mr. Hyde never quite manages
to scare, but Stuart in particular exhibits good comic timing - and
both he and Disney always seem to know just how to say a line to get
a chuckle from the audience.
The Strange Case of Dr. Jekyll And Mr. Hyde plays at C (venue
34) from 4-30 August.
Rachel Lynn Brody
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