THE KOSH: TWENTIETH CENTURY GIRLS OOOO
Bittersweet history
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scope Per‘orrrier‘, {)11” ‘i’lilliam', and i tena Creese are ll‘i:‘,lli(;fl‘)lllf_) In one clever ’luet the, near half ll‘éilt: half feri‘aie costuriies, and riiariage to play :it let st four different relationships sin'ultarieously. A chronological soundtrack of music, constantly interrupted by sound bites of famous speeches, adds irony and poignancy repetitive urban beats accori‘pany a haunting image of cheap shop—Window dumriiies layered on top of the dancers' bodies. This is truly challenging physical theatre, Joyfully and artfully presented. (Elizabeth Schwyzer)
I Gilded Balloon, (568
I 633, until 30 Aug, P.45prii, 58.504950 (£7.5(Flf850).
THE LOVE THAT DARED NOT SPEAK ITS NAME: BALLET RIMBAUD & POSSESSION Moo
Ballet with big ideas on a small stage
Balletomania's Fringe debut. an ambitious
Orin Boolihg Book Festival www.edbooktest.co.uk
Fringe www.edfn°nge.co.uk International Festival www.eit.co.uk Film Festival www.edfilmtest.co.uk
Protein Dance enjoy a quick pint. See p.47
ROYAL BANK LATES
Priceless dance in the cheap seats
The bargain of the International Festival is unquestionably the Royal Bank Lates, a nightly series of 10.30pm performances with seats a steal at a fiver each. Dominating the dance is key Catalan choreographer Cesc Gelabert, whose solo Glimpse (The Hub, 2—3 Sep) demonstrates his supreme sensitivity on stage. His collaborators, video artist Charles Atlas and composer, Carmen Miranda, have between them worked with the likes of Merce Cunningham, Michael Clark and Lindsay Kemp.
Gelabert and six members of his company heat up the stage in They come watering flowers from Havana to Moro'n (Playhouse, 23-24 Aug). Here the dancing is cued to the live rhythms of Cuba‘s Cuarteto Timbanco. Gelabert's group can also be seen in Arthur’s Feet (Dance Base, 20-21 Aug, 10.30am), created with Scottish-based dancers with learning disabilities. My personal must-see on the late-night front is Tempus Fugit. This is only the third full-length production by Sidi Larbi Cherakoui, the most stellar of the young dance-theatre makers from Belgium’s Les Ballets C de la B (A couple of years ago he beat Akram Khan and Emio Greco to win a choreography award in Monaco). Cherkaoui‘s two previous pieces have had London audiences up on their feet in appreciation. With time as its theme, his new work is full of stories - narrated, danced or both — drawn from a multicultural cast whose countries of origin range from Argentina to Senegal. What unites them all? ‘The search for a common world, a common time,’ the Flemish- Moroccan wunderkind says. ‘This piece is all about communication. I’m trying to have us be masters of time on every level.’ (Donald Hutera)
I Royal Bank Lates, 4 75’ 2000, venues. dates and times vary (see above).
drama as seriously as the dancers seem to. Nevertheless, Ballet Ririibaud, set to the music of the Doors. has moments of powerful male partnering and delightfully nasty seduchon,asthe nubile young French writer, Arthur Rimbaud (Adam Gullidge) drives married man Paul Verlaine (Steven Windsor) to an absinthe-fuelled frenzy. (Elizabeth Schwyzer) I C, 0870 707 5105.
double bill of contemporary ballets dedicated to the love affairs of gay writers, is designed for a bigger stage. In this venue. the forced formality of mime and the watery blood capsules are too transparent, making it impossible for the audience to take the
48 THE LIST FESTIVAL MAGAZINE 12—19 Aug 2004
until (30 Aug (not 75. 23) 3.55pm, 5‘850 (£37.50).
RUMBLE 00..
Yo! It’s Romeo and Juliet
Along With sex and lunacy, nothing sells a good show like a bit of hip hop. It lends instant credibility to the lustiest of topics and, perhaps more significantly, it gets bums under the age of 35 on seats.
Rumble is proof of this. as a nine-strong crew of expresswe young breakers. poppers. lockers and dancers from Germany swrng out an ambitious and frequently excellent piece of street dance theatre. It all takes a wee while to gain momentum and the story occasionally comes a dislocated second to the dancers flexrng their conSiderable moves, but the set pieces — in particular, the battle between the Capulets and Montagues — are a sight to behold.
(Mark Robertson) I Aurora Nova (02 St Stephens, 558 3853.
until 5’0 Aug, fiii’tlprn, l‘l.’.’ ll‘lth.
PIG IRON IN FLOP
Red nose (makes our) day 0000
Some shows educate. some shows disappoint, and some shows make you glad to be alive ~ Flop falls firmly into the latter category. lhree clowns walk through three doors ~- small, medium and large — and welcome us into a world of silliness we never want to leave. With facial expressions you could see from the moon, and comic talent to spare, Lee Et/old. Nichole Canuso and Eriimanuelle Delpech inadvertently stop time during a fit of naughtiness. Handily, a space ship of aliens arrive to help them reCreate the Big Bang. An exercrse in astute comic timing from beginning to end, Flop is an absolute Joy to behold. (Kelly Apter)
I Pleasarice Courtyard. until 30 Aug (not Tue). 4.05pm, l.‘9/l.‘70 (17.500850).
DEREVO - TANYA KHABAROVA: REFLECTION Cleansing routine .0...
Giving Reflection a star rating is like rating a live biitli and profoundly beside the [)()llll, What Kliabarova gives is less a perforriiarirge than an offering; an hour of truth. lit the white robes of a high
senseless,
priestess, she lays a table Willi ritual ()I)]()(,‘i‘;, riietir,iiloiis as an obsessive (l()llll)lllf;lvt:. Her naked, grease-painted body leaves white sriiears on the floor traces of her fitful passage, and reflections of the
p; ssage of every one of us through life. It's her sincerity and her vulnerability that riiake this show so frightening and so stunning, It". a purifying fire. You ‘Nlll come out cleansed. (Elizabeth Schw/xer) I Aurora Nova ((1; St Stephens, 558 .3853, until 30 Aug (riot 77-27,.2/1/ 70.45prri, [‘70 0‘8).