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ROSIE KAY DANCE COMPANY
Poetry in motion
Raquel Welsh played her on screen, Toni Collette played her on Broadway — and now it’s Rosie Kay’s turn. Queenie, the Vaudeville dancing heroine of The Wild Party is about to hit Dance Base like a brick through a window. Written by American poet and New Yorker editor, Joseph Moncure March in 1928, The Wild Party originally struggled to find a publisher due to its sexual and violent content. Almost 80 years on, audiences are harder to shock, but Kay’s dance adaptation still comes
with a 14+ tag.
But really she’s quite terrifying.’ Performed by four dancers and three jazz musicians, The Wild Party is populated by a cast of colourful characters. Eccentricity
and decadence fills the air and alcohol fills the bloodstream, leading to inevitable tears and tantrums. But despite using jazz musicians for a jazz era poem, Kay hasn’t placed the show in any particular time.
‘lt’s not a historical representation,’ she says. ‘lt‘s got an edge of the 19305, a bit of a 19705 Abigail’s Party feel and some modern day bling. But there’s something about improvisation that only jazz musicians really get, and sometimes we respond to the music other times
the music follows us, it can change a little each time.’
‘She’s such a diva,’ says Kay of Queenie. ‘And part of (Kelly Apter) me wants to make her sympathetic because she is quite I [xi/r. t- [3.2m :, . a tragic woman and people need to understand why. 2 7 ,7 .~ .' . r’"
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INTO THE HOODS
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SPECIAL NOTHING IEN FORME Crazy about Kafka
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‘ y- ' 7 r; 14%", THE LIST FESTIVAL MAGAZINE 39