FESTIVAL REVIEW
PETA PLUS PETER
'l lopetully it'll lie quite a xeyy piece.’ Auxtralia-horn xoloixt l’eta l.ily .xayxot Wendy Darling. her radical rethinking olfll..\l. liarrie‘x W] l claxxic l’etet‘ l’ati. 'l'he xlioyy ix heing ady‘ertixed ax .\'ot Suitahle For ( ‘liildi'en. riot heeauxe it containx nudity or tour-letter yyordx. htit xo that parentx t'ecognixe it ixii’t kidx‘ entertainment. ‘We're iuxt ll'_\ ing to keep droy ex ot' xchool par'tiex l‘rom turning up and tireak‘ing out.‘ [My dead-panx. ‘yyatching a yyoman yyalk around in l‘).‘~tlx corxetx and xuxpenderx.‘
l.in heing l.in . oiieol Britain'x liext mime-theatre practitioner‘x. xhe‘ll don and drop guixex galore oiixtage. l'xing iiitiy ement. minimal teyt. and emlilcmatic pr'opx culled lrom yy'liat .xhe callx ‘a hottonilexxtoychext yyith almoxt allot .\'ey et'latid ittxide it .‘ xlie‘ll axxttiiie a gallery til identitiex: l’eter. (‘aptain Hook and Smee. .\lr.x Darling. 'l'inkei'hell. tlte loxt lioyx. But the xhoyy ‘x centrepiece and xtar‘tirig point ix Wendy and her uni'exoly ed leeliiigx t'tir her rough. magical play mate l’cter.
ln lily'x "dextructured’ \ erxion til the tale. a grown-up \\ eridy returnx to xpend a trouliled. xleeplexx night in the nurxery. 'Wendy ix dexcr'ihed throughout the hook ax a little mother. l.ily explainx. ‘Really . .xhe yyanix xomething el.xe. And ntiyy xlie\ axking ‘l)id I fly I" and ‘l loyy catil
AVIS AND GREG
Daiieei and choreographer .'\y rxyon llcidei retuinxtotlie
l-r iiige tliix y ear \y itli .-\ Dance l‘Ht .-\nne l'lttttlx
l he theme ot tliixd inee naiiatiye ix. ax rtxtitle xuggextx. the memoiron the young .leyyixli girl. ax recounted in her poxthumouxly pttl‘llxltctl tliariex :\tta\y.itctte\xtil the tragic nature ot the xuliiect matter promixexa ccrtarndegrce ol integrity eyen liclore the curtain lhixix certainly matched liy the depth ol coiixttlciation yyhich haxcleaily gone intodrayying together the elementon muxic.
moy ement and y ixual
tlxcxtitt tlie \llt iyy
dexign ,-\\ix'oiiginal Irixpiiation yyaxapparentl diayy n trom the yyoi‘k ot her ctillalior'ator (iiegory
liiekei . yy hoxe ximplc. .iltttti\l clttltllllxc \L‘l poignant liatrk ptitilx t‘ttiy Itlc .t l‘ae littlttip lti lltc' dance in the tor iii ot [‘ttilct'lctl\lttlc\
l he muxieal element doexmueli toeoiiitue tipa lL'cllllg lttt lltL'tllllc‘lcltl emotionx telt liy Anne during her xhort lite. .'\y ix dancing. \\ hilxt per hapx rather limited axrcgartlx Iriycntion.olteiiechoex tliexe eniotionx. l Katrina \lc'l’llc‘lvtlll IAvis and Greg: Dancelor Anne Frank I terror—\yau
llieatie. \‘ciiuc “. 15 Ill .4\ugand_‘5 .‘Sept. llaiii l2 lSpmtlaily
NOT THE BALLET RAMBERT
\\ itli their xlioyy at the (‘liaplaincy (critic. \ot llic Ballet Raiiilietl
ltetaltl tlicit tlclittt axa
.k
FESTIVAL DANOE
still love this little hoy- who still has his first teeth'.’~
Exploring the t‘riction hetyy'een Barrie’x romanticixni and a more modern .xophixtication. Wendy Darling underxcorex a primal heteroxexual hond. For lily. l’eter repi'exentx 'all thoxe macho little hoyx who get heaten to a ptilp .xo women can mother 'em. So I don't think ol' Wendy a.x .xick. I rememher heing a young girl and haying leelingx tor men-lriendx of my parentx which I can't rationalise or deny.’
l.ily' emphaxixex that her .xhoyy often no clear-cut .xtateiiientxor moral iudgementx. lt‘x a work of the imagination. not a rey'ixionixt Freudian analyzxix ot' a children'x cla.x.xic. Yet .xhe and her ctillahoratorx. including director Rey Doyle. are keen to ptit quotation markx around l’eter Pan's .xtatux ax a children's hook'.
‘lt‘.x a heatitit'ul hook.‘ l.in xziy'x. ‘l'ull otgutxy poetry and enorriiouxly' adult. lt'x really ahout hanging onto unrequited loye. and childhood ohxexxion and infatuation. Originally I thought. ‘I muxt tell people thix i.x a had thing tor the .xpirit. it hlockx the energy.‘ But then I r'ealixed yy hat I loye about the llUVL'l i.x the whole idea til lieing ey'en hopelexxly in loye.’
lily. a l’ringe y‘eteran. prelerx per'loriiierx yy liti are paxxioriate yy'hile heing good pert‘orriierx. ln Wendy Darling .xhe hopex tti create a piece til theatre that ix xtylixed and dixcipliiied. ‘hut with the roughnexxot'lil'e to it. I want toxtop trying to hold hack quite .xo much. 'l‘here'x a light-hcartednexx at play in thix .xhoyy that'x iuxt yyaiting to he releaxed tti an audience.‘ ( Donald llutera)
I Peta Lily in Wendy Darling 'l'heatt'e \y'orkxhop. .thg 2‘) Sept 3. l3. 15pm. (HUSH).
dance company Without doulit they muxt he giy en y‘tctltt lot the L‘titltagc they dixplay iiidoing xo inthe tace ot yy hat ix atter allan cyei diniinixhing dance audience at the l’ylllll‘lllig'll l‘extryal. lhrx year at
Ieaxt . they can hope to llll lllL' gap L‘t'calL‘tl l‘y lllL‘ alixeiice ot thoxe regular x Dancch .'\ltUlt_\ nioux.
\y ith yy hom they xhare certainximilaritiex. like l).-\. the company niemherxot .\"l HR are xtill attending. or hay e oiin \ery recently graduated liom college. In thix caxe ll ixthe
dance rx that hay e trained yyith the Ballet Ramliert School and thix reyealx itxelt lioth poxitiyely and negatiycly in the courxeot the per tormanee 'l he tlancerxdixplay their xountl technical t and predominantly claxxicalt
Peta Lilly
training, yy liicli ixorily rarely marred hy .i Iackot conlitlctice. hot it xtitiii
hecomex ohy roux. through
the lack ot originality in the choreography . hoyy littleoppoitunity thexe young dancerx liay e lieen gtyeii toeypeiiiiient “fill and tlcy elop lltctt tiyy tt ideax. The company liaye heeri giy en toeyper imerit yyitli and tleyeloptherr oyy n ideax l he company liillxitxell ax ‘toiiiorioyy ‘x that may yyell he. hut it they are to hectime 'toiiior'ioyy 'x
dancct \'
choreographerx‘. they yy ill
hay e toalloyy their iriiagrnationx to hreak the moldol their training (Katrina .\lcl’heixoiil
I Not the Ballet Rambert ('haplaincy (critic. (Venue 33) :\ug l5 Itltk 33 2".llllpm(Rultlpm). L‘ifilltilfitti
THE KOSH — A MATTER OF CHANCE
l'lic Kti\lt ate \lcatllly xecuring their reputation ax dance lay ourrtex on the hinge A Matter til (‘hance ix Roger
.\lc( iougli'xadaptation ot Ngtlitilx'tiy 'x \\ let'tl and tragic tale til loxt loye and niixxed chaiicex. xet in the l‘)2llxon the Berlin to l’arix l'.\pl'L‘\\. lair thoxe lamiliar' yyith ‘l‘he lx’oxli‘x yyork. thixyear'x production xeex a
yy elctiiiied return to a tuller caxt and the xlrck.
ot xoi tx l he prograriiiiie includex ieyyorked l )ayid
M
xpell-liindirig acioliatiexol their earlier xhoyyx ()ri eyery leyel the dance-play 'x meaning ix
eony eyed through xtylixatroii. \\llll tlireclriexx and economy a common element throughout llic iiiuxic'x atmoxpheric niclotlrex proy rde a timing ltitcc \\ lllc'll l‘lt‘lltl lltc' \L‘t‘at tile xecticx HI lllL‘
.\ liyely interaction liounccx
l‘ctyyecti \yortlxatttl nioyement. ax .\le( iougli‘x l poetry puiietuatextlie l daneerhytliriix in a
play oti yy hich rxat once thrillingantlariiuxing \ixually .-\ \latter ol (‘hanee otter x richex in the riioyement antlxtrllnexxot
lltL‘ tlttltc‘ctx l‘UtllL‘\. Ill tltc luyury ot the elalioiate coxtuiiie and titakcatp
llic lxtixli once again lrye uptoeypettatiorixand proyide aiienioyalilc eyenrng'xentertainment ITlie Kosh .\ \lallei oi (iltalty'c. lllcaltc Woikxhoptyeriue .‘Ht. .v\ug15 Sept 3 t not Sunxt Siiiiit‘l.‘lll.t<t13Sill
DAVID GLASS: GLASSWORKS; DINOSAUR 0F WELTSCHMERZ
lliix year . the reiioyy netl mime artixt Dayrd ( ilaxx
ptcxentx lyytixcpatalc \lttiyyxal lltc' l ltcatte \\ tit lxxlitip (ilaxxyytil lxx
reprexciitx a retroxpectiy e
(ila\\ claxxtcx \ttclt ax a
‘ l".
The Kosh tlcy elopetl \ ct \lUll til llk‘ my entry e and riiexmei ic l‘icce ‘l landx' ln ‘l' ritei Di l’hillip‘. ( ilaxx eyploit x the eeeeritr ic niannci‘ixmx ot an .-\mer iean pxychiatiixt raixing ltttlg'lh or ridicule yet recognition .tl llll\lll‘\k'\\l\L' character Wrtli ‘ l he (‘tly'.(ilaxxtlcptctxati imaginary totir through \eyy \ ork W itli the tlick til a hand. HllC l\til.tlc‘tl nioyement or xountl. (ilaxx lirietly iiitioducex andxatiiixextlie quirky traitxot city-dyyellerxant' the liorroixot their
Drrioxaui ot \\ eltxchiiiei/ leaturcxtliz madcap tilni-makei Alex Box. ax he recountx the xtoi y oi hix 'trip' to Bra/ii
\\ ltct c ltc Ittcclx a tlllttixatt: in tlie liaxeriicnl tit a Soliti lllg'lll-L'llll‘l lt'xa lull-length multi-nietlia \yor k yy liicli iiiiix \\l[ll tut: ltt l‘tllll \llti\y\. ( il.|\\ capturex and retairix xuxpenxe and attention \yitheaxe llrx highly ~tuned hotly. per lect dramatic timing and ii rextxtilile charm make tyyo thoroughly criioyalilc xhoyyx thoxe Il‘. xcaicli ot tiueartrxtiy xhoultl he xure not to mix them? I David Glass: Glassworks .\tig I“ t\ I‘l-Sc'iit l tk I. _‘ Stipm; I Dinosaurol Weltschmerz :\ug :5. .‘~ti. 31 Sept 3.3 ‘Upni. l llc'ttllc \\ tit kxhtqi (Venue Ill). ticketx: L3 til 5”)
l l i
'l‘he l.i.xt 2(i Aug— 1 Sept 198$
§L_David Glass