Theatre
CABARET FUTUROLOGY
Scottish Exhibition and Conference Centre, Glasgow, Tue 10—Sat 14 Apr, then touring
Cabaret isn’t the first form of theatre you’d associate with Suspect Culture. For over a decade this outfit have produced among the most cerebral work seen in this country. But times are changing, and besides, artistic director Graham Eatough promises some brain food between all the razzmatazz.
In spite of the form, there’s more story to this piece than you might expect. Telling the tale of a mighty conference, incorporating everyone from scientists to politicians to mystics, it follows a single delegate, from a sinking Pacific island through this labyrinth of rhetoric. ‘lt’s a conference about the future generally and climate change in particular,’ Eatough explains. Does cabaret seem the right form to tell the story? Well, yes: ‘Cabaret as a form has flourished immediately before catastrophic events. If you think of
82 THE LIST 7‘4 Mm
i0 Ap your
those high points of pre-First and pre-Second World War cabaret, it became some sort of outlet for people. Whether it’s a satire of politicians’ unwillingness to act, or a desire not to look too seriously at the future, it still seems relevant. It’s also about bodies in space performing before you, about sex and flesh, a very visceral and immediate art form. It’s the opposite of the conference, which is buttoned up and legitimised.’
Climate change seems to be the focus of the piece, four years in the making, and incorporating a wide array of Suspect Culture’s many international creative partners under one roof, which Eatough maintains gives a global perspective, as well as incorporating the broad range of theatre skills for cabaret. ‘When we started the show four years ago our political leaders were miles away from acknowledging it. Every briefing that came out of the White House was about discrediting the science of climate change. That’s completely changed now. Not that they’ve particularly acted on it.’ (Steve Cramer)
CONTEMPORARYDANCE HENRI OGUIKE
dynamism and the sheer joy of dance.
Traverse Theatre, Edinburgh, Sat 31 Mar
BALLET SCOTTISH BALLET
Theatre Royal, Glasgow, Wed 11—Sat 14 Apr, then touring
It's 20 years since the death of Scottish Ballet‘s founder. Peter Darrell, and you can’t help but wonder what he'd make of the company today. After prolonged periods of uncertainty. Scottish Ballet has become a class act. able to hold its own among the major players of the dance world. As the company prepares to unleash yet another striking programme. it's surely doing enough to make any forefather proud.
Darrell believed strongly in fostering upcoming talent. so it seems apt that a rising star will take the lead role in one of his key works. Choreographed by Darrell in 1971. Othel/o is a one-act ballet filled with drama. Stepping into the weighty shoes of Othello himself. is young dancer Gregory Dean (pictured). Despite his position as Artist — bottom of the ballet company hierarchy -— Dean has snapped up some plum roles since his arrival in 2005. ‘lt's all happened very fast.‘ he says. ‘Othello has been challenging to do because it's a very dramatic role. Every gesture means something in the development of the character.‘
Joining Othello on the spring programme are George Balanchine's geometrical masterpiece. Agon. Ashley Page's dance drama Room of Cooks. and Krzysztof Pastor's stunning /n Light (81 Shadow. Dean also features in Pastor's work. which was last seen wowing audiences at the Edinburgh International Festival. “It's dance for dance's sake.” says Dean of Pastor's ballet. ‘lt's a high energy piece to perform. full of jubilant dancing.‘ (Kelly Apter)
Hearing Henri Oguike talk about music. you could almost forget he's a cl’ioreographer. So passionate is he about sound. movement seems to take a back seat. That is until you see his work. Oguike's choreography is full of drama.
Founded in 1999. Oguike's company has had one award after another thrown at it. his ability to give equal weight to music and dance pleasing critics and public alike. Diversity is the key to all Oguike's programming. and his Edinburgh line—up is no exception. Lift/e Red. a new work set to Vivaldi. the evocative solo Express/on Lines performed to blues guitar. and Tiger Dancing. a piece inspired by poet William Blake with music by Steve Martland all feature.
As does Green in B/ue. Oguike's latest creation but first foray into the world of jazz. Joining the company on stage will be composer and musician. lain Ballamy. one of the key players in new British ja/x. ‘My interest in music reaches in different directions. but I think what attracttxl me to ja// was the use of improvisation and the varied ways you can go about structuring and building it.‘ says Oguike. ‘I wanted to try and meet that with the choreography. and create a very open
relationship between the dance and lain's musrc.’ (Kelly Apter)