list.co.uk/festival Reviews | FESTIVAL DANCE
P H O T O
: A N T T
I S A U K K O
P H O T O :
I
D A V D K R E B S
THE ARTIST A hapless painter isn’t as clumsy as he seems in this charmingly irreverent comedy ●●●●●
Upstairs at Assembly Roxy, a painter is searching for inspiration. His studio’s a mess, with shabby curtains, dying houseplants, and a drip from the roof that’s driving him crazy. With Circo Aereo, and directed by Sanna Silvennoinen, Thom Monckton has created an imaginative hour of gasps and giggles. A clumsy, loveable chap in spectacles, he struggles
to put a frame together, then staples his sock to it. Monckton is an accomplished clown, joyous to watch as he flops around bored, making up silly dances, but the slips and stumbles belie his skill as an acrobat. He has you on the edge of your seat as he finds ten ways to climb a ladder (none of them safe, all of them jaw-dropping) to reach a jar of paintbrushes.
Easily distracted, he plays with the still-life fruit, drinks the wine, then takes a banana to a nightclub. Finally he invites an audience member onstage to paint his portrait, with hilarious consequences. The ending had a sense of innocent magic, as his entire studio became a playful work of art.
Acrobatics, silliness and great set pieces follow one
after the other, and this endearing show will please audiences of all ages. (Alexandra Gray) ■ Assembly Roxy, until 27 Aug (not 14), 4.20pm, £12 (£10).
THE SPINNERS Fierce, fun take on Greek mythology ●●●●● ÉOWYN EMERALD & DANCERS Short works from an evolving company ●●●●●
There’s nothing like a trio of kick-ass goddesses to get your adrenaline going. The motive for this impressive, wordless physical theatre collaboration between Australian dancer-choreographer Lina Limosani and Scottish director Al Seed is a re-examination of the Moirai, or Fates, of Greek mythology whose shared task is to preside over the destiny of humankind. Embodied with a fabulously fierce, seemingly
telepathic focus by Limosani, Tara Jade Samaya and Kialea-Nadine Williams, these apocalyptic warrior- witches treat their responsibilities with poker-faced dedication. They’re a wonder to behold too, even if the entire premise is faintly preposterous. But what holds the attention tight and fast is the
collective drive of those fully inhabited performances, the visceral pull of the show’s kinetic content, the spare yet bold designs and the staging.
The trio’s buggy, totemic body configurations are striking. Ditto their play with knitting needles and thread. All of the mightily active tableaux might diminish a little in memory, but while it’s happening it’s a concentrated wild ride with a charged sense of mystery at the core. (Donald Hutera) ■ Dance Base, until 19 Aug (not 13), 4.45pm, £13 (£11).
Since her successful run at the Fringe in 2016, Éowyn Emerald has made some changes. She’s relocated to Aberdeen, and for this latest programme of eight short works, has taken on new dancers.
They’re engaging to watch, and the works varies enough to hold interest, but the choreography seems underdeveloped, and the execution uneven. There’s a lot of wobbling, and the floor work feels heavy and noisy, which doesn’t seem to fit with the contemporary / modern aesthetic of Emerald’s choreography.
There are also some baffling and incongruous
choices, such as a deliberate sudden drop from a lift, and a phrase featuring a slow back-bend which looks horribly foreshortened because of the stage positioning. Subtler ideas appear from time to time, like when
two dancers touch with scissoring fingers, or a lovely swimming gesture which seems to carry an emotional weight of its own. These are promising moments – delving deeper into fewer pieces might have borne more fruit. Nevertheless, the dancers are fully invested in the work and each other, which carries the hour. (Alexandra Gray) ■ Greenside @ Royal Terrace, until 25 Aug (not 12, 19), 1.50pm, £12 (£10).
P H O T O :
I
A L C E P E M M E
I
BACKUP Snowflakes, puppets and skiing clowns make up this sweet piece of theatre ●●●●●
This is a wee gem of a show and a great start to the day. The Chaliwaté company from Brussels brings a concentrated cast of three, who use puppets, live video feeds and deadpan clowning in ski wear to tell the story of a film crew’s road trip to the North Pole. With an electric fan creating a lo-fi blizzard, props appear
on the soles of giant puffy snow boots, tiny model cars zigzag over the legs of a white pair of ski salopettes, and a tiny winter landscape with miniature lights and trees is seen from a distance, almost like an enchanted model train set.
As if watching a film, the simple set manages to create
the impression of zooming in, panning round and changing angles, just by shifting the props and fiddling with the volume, as the trio (Julie Trent, Sicaire Durieux and Sandrine Heyraud) travel through a snowstorm in an old beat-up van. Watching the three try and clumsily pour hot tea from a flask, light a cigarette to smoke out the window and also keep a hand on the wheel is a gorgeously synchronised piece of toned-down, gentle slapstick – not too twee and just quirky enough, like a child-friendly, snowy take on The Life Aquatic (it's recommended for 8 years and up.)
When the reporters make it to the icecap, there’s a giant polar bear waiting, and an unexpectedly touching story quickly unfurls, through only a few wordless gestures and puppets. Fluffy earmuffs, vintage sunglasses and a nicely picked soundtrack only add to the charms of this piece of physical theatre. Short and very sweet. (Claire Sawers) ■ Summerhall, until 26 Aug (not 13, 20), 10.50am, £9 (£7).
8–15 Aug 2018 THE LIST FESTIVAL 69