Nothing to Lose
Chapter One:
Body//Language
Presented by Malthouse Theatre and Force
Majeure
Director – Kate Champion
Artistic Associate & Music Curator –
Kelli Jean Drinkwater
Set & Lighting Designer – Geoff Cobham
Costume Designer Matthew Stegh
Movement Vocabulary – Devised by the
Company
Main Cast:
Claire ‘Scarlett’ Burrows, Julian Crotti, Michael Cutrupi, LaLa Gabor,
Ally Garrett, Latai Taumoepeau, Anastasia Zaravinos.
Ensemble:
Dean Arcuri, Jessica Cherry, Kelli Jean Drinkwater, Eva Johansen,
Melanie Carlisle, Kim McGuire, Zac Segbedzi, Narda Shanle, Sara-Jane Smith,
Sarahlouise Younger.
If nothing else, Nothing To Lose proves that pounds of voluptuous flesh can be very sexy.
It commences slowly and gently with small
groups of pale and fleshy bodies writhing on the floor - loosely imitating
coupling. Then a group of bemused and
exposed individuals stand uncomfortably before the audiences gaze. This moves to a kind of study and
interrogation of the dancers bodies by a small group of audience who are
invited to do so. What follows
interrogates our attitudes to body weight, with varying levels of success it
implicates, engages, informs and amuses.
The evening ends on a very high note with a big troupe of large dancers
dancing energetically and enthusiastically in unison in a work choreographed by
Genoa Gela to music composed by Strereogmous (Paul Mack and Jonny Seymour).
The set contains a number of thin mirrors
that form squares, rectangles and crosses that partially reflect what is happening
at times. The lighting by Geoff Cobham
is particularly successful when creating shadows and enhancing curves. The use
of Lycra in some of the costuming (Matthew Stegh) is imaginative and inspired.
There are some moments of revelation. At times individual dancer’s flesh appears to
be scar tissue, sometimes it seems outrageously and deliciously flabby and at
others it seem totally appropriate and integral to the performer. The space between stage and auditorium is traversed. Some of the dancers seem to have a
confrontational edge, some are more yielding and others self-contained an
entrancing. There are quite a number of
clichés in relation to fatness expressed particularly in the use of spoken word,
when it is used in an attempt to encapsulate broad attitudes and issues about
being overweight.
Beautiful moments include the projecting of
an almost cupie doll like aspect of beautiful plump people, and a
sadomasochistic scene that, feels like it, could be in a bordello. In this the manipulation of flesh is
fascinating and riveting. And there are
performers who magically draw the eye and hold attention most particularly
Latai Taumoepeau, a very poised dancer.
Apparently a shared choreographic language
has been developed throughout the rehearsal process. I would hazard a guess that there have been
many challenges overcome throughout the process and think it would be marvelous
if this troupe could keep growing and developing. Though one would assume that weight loss
could be an inevitable unwelcome result.
I for one am ready to see more challenging
and demanding dance work presented by this troupe – ready for Chapter Two!
There is so much on for Dance Massive, and
judging by past years no doubt much of it is ‘cutting edge.’ Amongst all this Nothing To Lose deserves the good houses it will probably get due
to the fabulous marketing campaign surrounding it.
Suzanne Sandow
(For Stage Whispers)
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