A retelling of Operation Epsilon which falls flat in the face of such a heightened moment in history
After a successful run at Jermyn Street Theatre in 2023, Farm Hall has now transferred to Theatre Royal Haymarket, on until the end of August. The idea is initially intriguing, the plot being based on the true story of Operation Epsilon. This was when the Allied forces held a group of German scientists in a bugged house near Cambridge, intending to spy on them and listen to their conversations, primarily to determine how far Nazi Germany had been to making an atomic bomb.
Set in one room of the house, the scientists Max Von Laue (David Yelland), Wener Heisenberg (Alan Cox), Carl Friedrich von Weizsacker (Daniel Boyd), Otto Hahn (Forbes Masson), Kurt Diebner (Julius D’Silva) and Erich Bagge (Archie Backhouse), discuss why they are being held at Farm Hall, and wonder when they will be released. The script is quick and witty, and very funny at moments as we listen to their back-and-forth. Previously having worked together in Germany during the Nazi regime, we see tensions arise as they argue about their different relations and feelings towards their country as well as their work and opposing scientific theories. Halfway through the play, they hear the news on the radio that America has dropped atomic bombs on Japan. Shocked as to how America ‘achieved’ this, they are met with feelings of failure, shame, and jealousy. But this is about it. I would have liked to hear more discussions around the science of the atomic bomb, but more so, discussions on the repercussions of what America did and how catastrophic they knew the bomb would be. This would have added that needed heaviness to the play, which is ultimately about the history of such a horrendous weapon and the roles individuals play in war and conflict.
The acting by the cast often felt over the top, and exaggerated, with some cheap jokes which felt uncomfortable at points. If anything, the depth of the characters which was built up as the play went on, didn’t meet the potential of the time they were exploring. Rather than a fairly flat simple retelling of this historical moment, a more nuanced, morally complex, imaginative reconstruction of what happened at Farm Hall would have been a more interesting watch. The transcripts of the scientist’s conversations, which were declassified in 1992, must have provided some material which could have been played around with more creatively.
If you want to know more about this fairly unknown point in history, I would check out Farm Hall, however it doesn’t feel enough simply to stage something, quite basically, which has affected so many people around the world.
You’re getting what is says on the tin with this fun, immersive, and giggly recreation of a well known story
Gunpowder Plot: The Immersive Experience is a production which seeks to recreate the events surrounding the infamous Gunpowder Plot of 1605. Taking place in the vaults of the Tower of London, we are brought, in groups, into an underground maze of dark, damp rooms where the story plays out.
The story is one we all know, on some sort of level. It’s 1605, London, and Guy Fawkes has conspired with a group of fellow Catholics to blow up the English Parliament and King James I, aiming to replace Protestant rule with Catholicism. As Fawkes was underneath Parliament, ready to light the gunpowder, he was arrested, tortured and executed. However during Gunpowder Plot, this basic storyline is fleshed out a bit more, with the addition of real/fictional characters, played by live actors. The actors take us on a journey through the vaults and through different scenes relating to ‘the plot’. For instance, we watch as secret meetings between conspirators happen, we hide in priest holes, we take part in smuggling through barrels of gunpowder. The actors were great, interacting with us naturally and in a relaxed way, allowing for general chit-chat and giggles. Working as a team with the rest of your group, you choose if you are either ‘for the crown’ or ‘for the plot’, and the story and scenes unfold accordingly.
The best bit about this experience was the use of VR headsets which we were told to put on at various points. Allowing for slight glitches, it was a really fun additional element to the storytelling. We rowed across the Thames with Guy Fawkes, the boat moving and swaying to the waves, for example, which did highlight certain aspects of the plot I was unaware of.
Overall, it isn’t necessarily a super refined piece of immersive theatre, however it does not claim to be that. Gunpowder Plot: The Immersive Experience is a funny and entertaining way to spend an evening, and a different way to get a bit closer to history.
Technical tenacity meets colourful choreography in this exciting performance from São Paulo Dance Company
Currently touring the UK with Dance Consortium, São Paulo Dance Company is not holding back, bringing heat and energy to the stage through their entrancing movement and incredibly clean technical abilities. We start with Goyo Montero’s Anthem, introducing us to the company’s athleticism, strength, and identity, a core exploration of the company’s, as mentioned by its Artistic Director Inês Bogéa during the post-show Q&A. Bogéa encourages each dancer to explore their own individual identity while connecting collectively with the piece. Owen Belton’s mashup of voices creates what sounds like a broken record of a national anthem, its vocal power hardened by the dancers’ facial expressions and angular jutting of limbs.
The performance of Nacho Duato’s Gnawa saw a score full of Spanish and North African sounds matched with beautiful dance, especially the interspersed duets. However, this piece lacked the previous impact of Anthem I felt. Slightly more traditional and predictable, Gnawa brought us back to some degree of conventionality that was excitingly combatted by the radical anger and bodily androgyny of Anthem.
Finishing with Cassi Abranches’ Agora, a playful and more gymnastical piece set to Afro-Brazilian drums and beats, we really get to see the ability of the dancers. The dance involved a lot of running with impressive horizontal jumps, all executed so intentionally and flawlessly, it was a joy to watch.
Although no longer showing at Sadler’s Wells in London, São Paulo Dance Company will be on tour across the UK, and I urge you to check out their upcoming performances here.
In this new major production, two of the finest Kathak contemporary dancers of their generations, Aakash Odedra and Aditi Mangaldas, tell unspoken and sometimes taboo love stories. Mehek is an exploration of the human heart, its desires, courage and resilience. Centred around an older woman and a younger man, the dance delves deep into the different ways that love can be. Derived from the Hindi word for fragrance, the title Mehek alludes to the enduring power of memory and the essence of love itself. The stage becomes a place where rhythmic tales of desire unfold, entwined with elements of nature.
Mehek premieres in the UK at the Peepul Centre, Leicester from Thursday 4 to Sunday 7 April, and is showing at Sadler’s Wells in London from Thursday 12 to Friday 13 April.
Aakash Odedra (c) Glen D’Mello
We are really excited about Mehek, showing at Sadler’s Wells from 12-13th April. Can you tell us briefly about what we can expect from this performance?
AM: I am extremely excited to be at Sadler’s Wells once again. Mehek comes immediately after my solo FORBIDDEN whose UK premiere was there in 2023. Both these pieces are distinct in their concept and choreography and yet both of them address universal taboos that have been part of our society from time immemorial…in this case a love story between a mature woman and a young man. I am very much looking forward to sharing the stage with Aakash Odedra for my first-ever long-length duet. Aakash has a brilliant symbiosis in his being; the lightness of the spirit of a gazelle and the inner strength and peace of the Buddha. This combination makes for a powerful artist. This makes it extremely energising and fascinating for me to share the stage with such an enigmatic and diverse artist.
AO: It’s a show about love between a mature woman and a younger man. Why is it taboo for a woman to have a younger lover? Society doesn’t blink an eyelid if a man has a younger partner but when a woman enters a relationship with a younger man it is frowned upon. Ultimately it is about love. We have an epic design of floating mirrors surrounding the stage, almost creating a mirrored palace or a shattered mirror. There are musicians live on stage, weaving in and out of the story representing society, resistance and, at times, guidance and hope. Aditi Mangaldas is a legend in the Kathak world. To see this ferocious Kathak dancer move is something that leaves a lasting impression, to dance with her is a life changing experience! I want to transport the audience out of this world and invite them into our world, a world that defies possibilities and in which one can dare to dream.
This dance consists only of you two, Aakash and Aditi. What has the process been like working solely with each other on stage?
AM: As I mentioned, it’s my first full-length duet so the whole process has been a learning experience. When there is chemistry, mutual trust and deep respect between two artists, then the flow of ideas and imagination is free and simultaneous. Two identities remained distinct and yet were able to merge into each other. This resulted in a process that brought together diverse elements. Aakash brought in contemporary inputs, while I brought in some very classical Kathak ones. The percussionists brought in rhythm and drama while the vocalists added emotion. Slowly one started perceiving the beauty of each element, until a lasting fragrance – Mehek – evolved.
AO: Before I started working with Aditi, I simply worshipped her, I used to watch all her online videos on repeat! So now to finally be sharing the same stage and space has shifted my being, it has changed my dance and my approach to Kathak. One thing Aditi and I have in common is the attention to lighting, staging and aesthetics. We play with what the space has to offer and in doing so we feel we are never alone, the space is dynamised and dancing with us.
What sort of love story are you telling through Mehek?
AM: It’s a love story that you don’t see very often. It’s a love story between two ordinary people on this planet, one older than the other. However, we are conditioned to believe that the man would be older and the woman younger. Very rarely is it seen in any society for a much older woman to have a romantic relationship with a younger man. What are the dynamics of this relationship? What is it that is similar? Love is the same at whatever age. Desire is the same at whatever age and between whichever gender. Then what is dissimilar? It is the conceptualisation of time! Because each one views time differently. For one there is much more time in the past and less in the future while for the other the future seems endless. This doesn’t seem to matter in the regular ‘older man – younger woman’ dynamics. So why does it seem so important in the reverse case? Many poets and philosophers have said that love is one emotion that makes you experience timelessness and spacelessness. Then why should age matter?
AO: Aditi is 25 years older than me and this became the basis of our story. We both have different perspectives on time and we started to question why age became a restriction on whom one can love, why is there a such a big bias in how men are treated compared to women when it comes to younger lovers. For me personally I love the idea and poetry of this impossible love story, it felt like the Hir Ranja (Romeo and Juliet) story but through Kathak. The concept is simple – love – but the subject is complicated because of age and gender.
The word Mehek, can be translated from Hindi to mean ‘fragrance’. Is there a certain smell which reminds you of happy and loving memories?
AM: In one of the R&D sessions, Karthika Naïr, the dramaturge of Mehek, asked very poignant and probing questions. “What is the colour of love? What is the fragrance of love? What music do you conjure up when you think of love?” The above questions were put not just to Aakash and me, but also to all the musicians. It was fascinating to see how each one had different interpretations and answers. Love is a many-splendored emotions whose fragrance feels eternal, remaining with you through your life and triggering memories of a beautiful relationship. For me, love takes the form of diverse fragrances.
AO: Naag Champa, it’s the incense sticks I light every day in my temple, it reminds me of love for the divine, love that has no condition or limitation. From that fragrance, for me, are born all things connected to love.
You are both iconic Kathak dancers. What do you hope people learn from going to see Mehek, if they are seeing Kathak for the first time?
AM: The origin of Kathak is traditionally attributed to the traveling bards known as Kathakars or storytellers. So essentially both Aakash and I are storytellers. We share stories and invite the audience to journey with us. I would invite the viewers to enter our world of Mehek and then go on their own journey of the discovery of love, of passion, of desire, of caring and of awakening. Does societal conditioning affect our views about a love story involving a much older woman and a younger man? Should a woman’s life be categorised by age and time: time meant for romance; time meant for childbearing; after which their sense of love and desire is rarely addressed? These questions are what I hope that the audiences will take away. As storytellers, we tell stories from aspects of life that we get completely immersed in. For me, the audience’s understanding of Kathak is not really important. Dance is a universal language.
AO: I hope they are able to see that the beauty of love is that it’s unlimited and unconditional, it can be danced, sung or written about, there is no right or wrong. Kathak is the medium that Aditi and I share and love. It has brought us so much joy and we’re using it to express our lived experience. I hope that by the end of the show you no longer see Kathak but instead you see love… when all leaves, only love remains.
Can you give us a brief introduction to the São Paulo Dance Company, and your role within the company? What is important to you as the artistic director?
I am an artistic director who is dedicated to cultivating and sharing innovative dance concepts within our community. My aim is to ensure that these ideas resonate deeply with both our Company members and our audiences, fostering profound connections. Throughout our journey, we’ve honed our insights and delved into understanding our strengths and vulnerabilities. My responsibility encompasses steering the creative vision and ethos of the company. Our artistic endeavors draw inspiration from São Paulo’s rich diversity and cosmopolitan vibe — a city renowned for its cultural tapestry and multifaceted actions.
We are a vibrant ensemble of 66 people, including 32 dedicated dancers, 22 of whom are here on tour with us. Their passion and commitment come alive on stages worldwide where annually we visit over 90 venues, ranging from majestic theaters to intimate stages. Since the Company’s inception in 2008, our journey has taken us through 18 different countries and this global experience allows us a unique vantage point to witness how the diverse cultures of each country interact, directly or indirectly, with the array of works in our repertoire.
We are a repertory company, a choice that allows us to engage with various strands of dance history working with a spectrum of choreographers to showcase the richness and breadth of dance. I emphasize and encourage our dancers to authentically express themselves within each piece, all while preserving the distinct language of the choreographer. This delicate balance is achieved through daily dedication, where we embody each work with a profound understanding of its essence.
During our visits to various cities, our commitment extends beyond performances. We actively engage with the community through dance workshops, lectures, and open performances aimed at students. Complementing our educational efforts, our dance memory initiative encompasses a wide spectrum of activities. We produce documentaries, video dance content, record performances, curate books, and craft program notes containing pertinent information about our shows. Among these endeavors, ‘Figuras da Dança’ stands out as it chronicles the stories of influential figures in Brazilian dance. Accessible on the Company’s website and broadcasted on educational TV networks in Brazil, it serves as a valuable resource shedding light on the rich history of dance within the country.
At every stage, be it discovering new talents, curating our repertoire or organizing tour logistics, our focus remains steadfastly on meaningful communication with our audience. As the artistic director, my commitment lies in nurturing an environment where artistic expression thrives authentically. Simultaneously, we aim to push the boundaries of dance, not just adapting to its evolution but actively shaping its direction and fostering innovation, reflecting the dynamism and passion that drive us every day.
Brazil is the largest country in South America with a huge dance scene including many different styles and traditions. How important is dance in Brazilian culture?
In Brazil, dance isn’t just an art form; it’s part of our life, something that resonates deeply within our culture. It isn’t confined to studios; it’s interwoven into our lives, deeply rooted in our cultural tapestry. It’s present in our celebrations, from vibrant street festivals to family gatherings and lively parties. You’ve got samba beats filling up the streets during Carnaval, and then there’s forró making our June parties. And it’s not just those; there’s a whole mix like maracatu, passinho, and coco – each one telling a different story of Brazil. The beauty lies in the choice: what dance resonates with you, whether as a student or a professional, becomes a personal expression. Dance becomes a reflection of oneself, connecting individuals to the rich and diverse stories that make up the mosaic of Brazilian culture.
What Latin American traditions or cultural elements do you bring into the company’s own work?
Our bodies serve as vessels of our heritage, subtly reflecting our ancestry through movement. Within the São Paulo Dance Company’s performances, the essence of Latin America intricately weaves its way into our physical expression. Elements such as fluidity in motion, a profound connection to rhythm, and an innate link to emotional expression echo our cultural roots. These defining characteristics serve as enriching threads within our work, bestowing upon it a unique quality that honors and celebrates our Latin identity.
The São Paulo Dance Company was founded by Brazil’s state government in 2008. What does the arts funding landscape look like in Brazil and are the creative industries invested in enough?
Dance in Brazil is incredibly vibrant and multifaceted. There’s a diverse array of active groups, each with its unique approach to production. Various mechanisms exist, including subsidies and governmental support at different levels—state, municipal, and federal—for dance groups and companies. Throughout the pandemic, we’ve all faced unique challenges in remaining active. However, today, art is reclaiming its place with live performances, reconnecting with diverse audiences. Through resilience and an abundance of artistry, we continue to navigate life’s different rhythms, embracing the ever-evolving dynamics of our artistic expression.
The company will be performing at Sadler’s Wells from 9th-10th February. What can we expect from the performance and why should someone book tickets to see it?
At Sadler’s Wells, on February 9th and 10th, audiences can anticipate a mesmerising showcase spotlighting the São Paulo Dance Company’s diverse repertoire and the vibrant dynamism of Brazilian dancers. Our dancers exude palpable passion, infusing the stage with infectious energy and boundless joy. The performance will encompass three pieces that serve as a reflection of our Company—a tapestry of contemporary ideas and emotions, woven with a distinct ritualistic essence.
Among these, Goyo Montero’s ‘Anthem’ takes center stage, delving into the fragmentation of collective identity and the conflicts born from distance. Using the anthem as a metaphor, this piece navigates the themes of unity and discord, beauty and horror, symbolizing an unyielding cycle of destruction and rebirth. Nacho Duato’s ‘Gnawa’ draws inspiration from Valencia’s Mediterranean essence, seamlessly weaving together the four elements—water, earth, air, and fire—into a sensual performance. Through varied dance and musical expressions, it crafts a ritualistic homage to nature’s beauty and power. Meanwhile, Cassi Abranches’ ‘Agora’ embarks on an exploration of time, delving into its passage, its resonance in memory, and the urgency it imposes. Accompanied by Sebastian Piracés’s emotive soundtrack, the choreography deftly juggles synchronicity and individual expression, mirroring the rhythmic beats of musical time through the dancers’ movements.
Booking tickets for this performance is more than attending a dance show; it’s an invitation to immerse yourself in a rich tapestry of narratives. These pieces not only reflect facets of Brazilian culture but also resonate deeply with universal themes, offering an experience that speaks to the essence of us all.
Get tickets to the Sao Paulo Dance Company‘s performance at Sadler’s Wells here.
A needed decampment from tradition, this collaborative performance is ambitiously new
The evening begun with Andrea Balency-Béarn’s Appels, a great piece to get everyone in the mood for the upcoming Stravinsky, as written in response to Les Noces, Appels utilises four pianos, creating a beautifully discordant yet focused sound which rung out around the huge open metal-filled space of Woolwich Works. Moving smoothly onto Cage Letters by Yshani Perinpanayagam, the love letters of John Cage to Merce Cunningham are set to frantic piano, during which the dancers of New Movement Collective find their way onto the stage, ready for the main event, Les Noces.
Les Noces, or The Wedding (music by Stravinsky, choreography from Bronislava Nijinska) was first performed in 1923, a story of a Russian peasant wedding. The New Movement Collective transform the original ballet into something specifically for today, centred on community and interpersonal bonds. The dancers oscillate across the long narrow stage, never loosing sight of each other. It felt like what temporarily become lost was always found again; there were no loose ends. The dance then centred itself on the the communal recusing of isolated or estranged individuals. Visually, wedding elements were woven through the New Movement Collective’s rendition, with the dancers wearing beige and whiteish coloured modern suit trousers and cropped jackets which are eventually tied together to form a long, trailing veil.
Stravinsky’s score for four pianos was impressively performed, along with the percussion and timpani. At points, it felt like you were listening to a whole symphonic orchestra as the sound was so powerful, matched with the singing from the Opera Holland Park Chorus. Soloist performances from the soprano April Koyejo Audiger and the baritone Ross Rambogin really took you back with their vocal strength.
Stravinsky’s Les Noces is such a historical and traditional work, subject to repeated reinterpretation. However the New Movement Collective, rather then attempting to offer up their own re-do of Les Noces, it felt more like a response to that cultural moment, an echo from the future. I think there was something quite dystopic about Les Noces – The Departure, some vision of the future in which we might only have each other. The somewhat sentimentality I felt after was brightened however by the closing piece from Company Chameleon Youth and ENBYouthCo, as young performers collaborated with the impressive beatboxer MC Zani, and created a spirited and more animalistic response to Les Noces.
This whole project, a mass collaboration between so many groups and individuals, was a perfect piece to perform at Woolwich Works. Being a fairly new arts venue, I hope Les Noces – The Departure, will put it on more audience’s radars. It is an incredible venue, being in what was the Royal Arsenal. Its long history has been maintained and the huge renovated industrial spaces ares classy and versatile. I recommend keeping an eye on their upcoming events.
Małgorzata Dzierżon is a choreographer, dance teacher and producer. She has performed with, among others, Rambert, Gothenburg Ballet and Royal Danish Ballet and made guest appearances with Wayne McGregor and the Ballet Boyz. She has received nominations for the Spotlight and Outstanding Female Dancer Award in the UK National Critics’ Circle Awards.She has taught at the Royal Academy of Dance and, as a guest lecturer, at the Royal Ballet School and Central School of Ballet in London. She was an artist-in-residence at the Hong Kong Academy for Performing Arts in 2020. She worked for many years as the artistic director and producer at Fertile Ground and New Movement Collective. Dzierżon also joined Wrocław Opera as a Ballet Director in August 2022.
New Movement Collective‘s Les Noces – The Departure, is showing at Woolwich Works on the 13th and 14th of January. One hundred years after Stravinsky and Nijinska created the powerful masterpiece Les Noces, New Movement Collective presents a re-imagining of this iconic ballet with a mass celebration. Performed in Stravinsky’s audacious choice for pianos and percussions, the cast includes singers from the Opera Holland Park Chorus, musicians from the Royal Academy of Music and new choreography will be staged by a some of Britain’s best contemporary dancers. Buy tickets here.
Can you give us some background on the New Movement Collective?
New Movement Collective (NMC) is a group of dance artists who come together to collaborate on interdisciplinary projects. Our background is in dance, so movement is always a strong component in our productions. We often create work in response to unusual settings – it could be an industrial space, a former chapel, a gallery. We even created a film on army training grounds using night vision cameras! To realise these projects, we invite artists from other fields – architects, designers, composers. Our new project – Les Noces – The Departure has a particularly strong music focus. During our projects, our small NMC core team of 10 can grow up to 70 contributors. What’s unusual about NMC is that we work without a lead creative director aiming to shape the ideas in a collective creative process.
Les Noces is an iconic ballet, the score by Stravinsky and original choreography by Bronislava Nijinska. In what ways has the New Movement Collective reimagined Les Noces, in terms of music as well as movement?
Performing Les Noces is a big task – we are fascinated by the music while also conscious of the challenges it presents – complex rhythms, large orchestration. Stravinsky considered many different options here, including pianolas (self-playing pianos) before settling for the choice of four grand pianos, six percussions and timpani. For our production we are collaborating with young musicians form the Royal Academy of Music and the Royal College of Music, as well as the Opera Holland Park Chorus and four soloists. We are creating new choreography for Les Noces and commissioning three new music pieces in response to Les Noces, asking what the themes of commitment, love and marriage inspire in the current generation of musicians and song writers. In our programme, Les Noces will be performed alongside new works by the project’s music director Yshani Perinpanayagam, emerging RAM composer Andrea Balency-Béarn, and Beatbox Champion MC Zani.
What has the creative process been like, especially since there are so many collaborators and collectives working on this project?
We began thinking about the work a few years ago while we had the opportunity to work with a small group of musicians in a shared space, imaging the audience being surrounded by live sound and dance. The idea of working with Les Noces specifically came a little later. We kept developing the project during short periods of R&D, with different groups of available dancers. In the last year we were able to take large steps towards the programme we are making now, not least thanks to our partner organisations which also include English National Ballet, East London Dance and Manchester based Company Chameleon where we work with Youth Companies and a group of dancers over 60 – Leap of Faith, exploring the themes of love and commitment through workshops and new dance pieces created especially for them.
Many of our readers are young and interested in the arts sector, so what advice do you have for aspiring creatives hoping to work in the dance industry?
In dance there are some fantastic opportunities – like ENBYouthCo and Company Chameleon, where young people have the chance to work with inspiring professional artists and to perform. Auditions are held every year, and the classes and format of the company can really support your growth and development towards a professional path in the arts. I’d also encourage everyone to take advantage of any opportunities to watch live performances, see exhibitions and to develop their own creativity by dreaming big – hold on those ideas, be patient and persist – some projects take years to realise, as you can see with Les Noces!
Why should someone go to see the New Movement Collective’s Les Noces?
I’m really excited about the performance – the power of the music, the energy of the performers, the scale of the production and an incredible new venue. We will be preforming at the Fireworks Factory at Woolwich Works on January 13 and 14 in a vast, atmospheric space that feels perfect for this experience where the audience gets a chance to get close to the dance and the music in a shared celebration of this incredible work. Buy tickets here
A fun and original idea – you can listen to a concert and star-gaze at the same time
Southbank Sinfonia brought a night filled with music and the cosmos to St John’s Smith Square, a beautiful church in Westminster. Titled The Night Sky, Southbank Sinfonia, conducted by Olivia Clarke, took us on an hour long journey through the stars above us, performing whimsical and moving pieces of music while images of the night sky were projected onto the ceiling of St John’s Smith Square.
It was out of the ordinary to enter a church and to see people lying down on the floor. But this was the best bit about The Night Sky; the orchestra was in the centre of the church, spaced out, and the audience members were sat in the gaps. Most of us laid down as soon as the performance began, having been given big cushions beforehand, which allowed us to get comfortable and to gain a good view of the the vaulted ceiling onto which images of the cosmos were being projected.
The projections included moving images, videos, and animations, taking us through a basic introduction to space and our solar system. Philosophers and scientists like Galileo and Plato were covered, adding a nice educational edge which kept the handful of kids in the audience impressively engaged. I enjoyed the audio clippings of Mike Massimo, a former NASA astronaut and a veteran of four spacewalks on the Hubble Space Telescope; his musings on space were deeply interesting. The images from the Hubble Telescope made the best projections and set against the performance from Southbank Sinfonia, it made for a moving experience. Pieces like Haydn’s “The Representation of Chaos” and Prokofiev’s “Spheres” were well matched to the projections and were at points really effective.
At the end of the performance, we see a projection of Earth from a satellite while listening to Mike Massimino talk about seeing our planet from space. “From up there I couldn’t imagine anything more beautiful, more perfect, than this planet. It really is a paradise. It’s beautiful, it’s fragile, it’s perfection”. Having time to think about the planet we live on was grounding, and my mind went towards thoughts of ecology and the ways in which we are damaging our climate and environment. I would have liked to have seen this possible ecological angle being emphasised more, as this is an inevitable consideration when thinking about anything to do with our planet and our place on it.
Check out all upcoming Southbank Sinfonia events here.
A striking and colourful story of inheritance and the fight for the throne
Set over 2,000 years ago during the nomadic empire in Mongolia, The Mongol Kahn digs up the nation’s ancient roots and gives us a spectacular display of Mongolian royalty, familial hierarchies, military power, and love vs leadership. Adapted from a tragedy by Lkhagvasuren Bavuu and based during the Hunnu Empire, this show’s fictional narrative centres on the king Archung Kahn, played by Erdenebileg Ganbold, who, while managing his state, has to deal with two of his queens, Tsetser (played by Uranchimeg Urtnasan) and Gurgel (played by Dulguun Odkhuu) each giving birth to a son, a few days apart. The issue of who is the rightful heir becomes the central issue of the plot as it is revealed that the Kahn’s Cancellor Egereg, played by Bold-Erdene Sugar, has been having an affair with one of the queens. We are then taken on a pretty crazy journey of deceit, violence, and trickery (some baby-swapping is involved!).
The plot line is fairly easy to follow as the Mongolian script is translated into English on three screens surrounding the stage. At points, the dialogue veers towards being a bit too cheesy, and I found issue with moments of domestic violence which were unnecessary and uncomfortable. Resulting from the nature of the show’s subject of succession to the throne, throughout, the female characters are controlled by the men around them, expected to be these unwaveringly subservient maternal figures. This could have been handled better by more lines being granted to them which would have allowed for more complexity and richness of their characters.
However where the plot seems to fail slightly, it was the staging, choreography, the set and the costumes which picked it right back up again. I have to mention the dragon-like puppet used in the second half which was particularly impressive, breathing smoke through its nostrils. The cast for The Mongol Kahn, was massive, over 50 dancers commanded the stage choreographed by by Bayarbaatar Davaasuren and Khashkhuu Khatankhuyag, with such elegance and synchronisation, always bringing the energy needed to lift the production back up. During battle or court scenes, the dancers sometimes held positions which made them look more like objects than bodies, so still and precise. It’s fast and expressive, and just overall very fun to watch. The choreography was elevated even more by the costumes. The costume designs reflected what the Hunnu Empire’s kahns, queens, and military would have worn, adding to the cultural richness of the show. The headpieces were spectacular and at one point a group of dancers come on stage with huge dresses made from large floaty fabric, which they wafted around stage dramatically, appearing as white tulips one minute, and beautiful conch shells the next.
The Mongol Kahn is a spectacle which comes down to taste; it is loud, brave, unrestrained, and I think, you either love it or hate it. At the London Coliseum, The Mongol Kahn offers something different and something which is visually fascinating. I believe it’s worth the watch. Check it out here: https://londoncoliseum.org/whats-on/the-mongol-khan/.
An exploration of dysfunctional family dynamics and instability
Blackheath, written by Alex Bower, is currently showing at The White Bear Theatre in Kennington. The story follows Eddie (Barney White) on his return to South London, after time away living isolated in Scotland. He returns to discover his brother Mikey (Andrew Hawley), and his childhood best friend Jo (Charlotte Brimble) are dating. Eddie is deeply affected by this discovery and throughout the play we watch him spiral out of control. Eddie and Mikey are posed as opposites, and their distant, but loving, brotherhood was convincingly performed by both White and Hawley. Mikey works in finance, has a flat, a girlfriend, earns good money, however Eddie is lost, behaves messily, is unemployed and always asking Mikey for money. We see Eddie struggling with his mental health. To begin with, he is upbeat, fun and spontaneous, but we learn of their mother’s recent passing, and this grief, along with the feeling of betrayal from his brother’s relationship with Jo, manifests itself in Eddie’s behaviour. He becomes self-sabotaging, aggressive, mean, and has emotional breakdowns.
Exploring these themes of grief and depression, Blackheath has some touching moments; for me, the best moments were those of emotional extremes, such as the fights between Eddie and Mikey, or the final scene in which they make up and decide to move on. However aside from these moments, the rest of the play felt pretty samey and unvaried. At points, the script felt awkward and slightly tedious as some dialogue between the three characters didn’t do much to contribute to the play’s narrative or character development. In some ways the script and small boxed-in set, held back the actors. Barney White was particularly impressive in his portrayal of Eddie, and I felt like there was a lot of potential there for him to create real chemistry between him and the others, unfortunately it just wasn’t pulled off completely. The staging did restrict the performance I think, when not in the scene, the actors would sit on chairs off the side of the stage, which then made the scene transitions feel a bit feeble.
Despite this, Blackheath does bring up some interesting ideas and asks the right questions concerning the treatment of mental heath, particularly for men, and also the importance of family and how hard it is to get it right. It’s hopeful ending was a nice way to round off the dark subject matters explored.
Blackheath is showing at the White Bear Theatre until the 4th November.
