Dance: A party on wheels

Skatepark
concept/choreography Mette Ingvartsen
performers Damien Delsaux, Manuel Faust, Aline Boas, Mary Pop Wheels, Sam Gelis, Fouad Nafili, Júlia Rúbies Subirós, Thomas Bîrzan, Indreas Kifleyesus, Mathias Thiers, Bob Aertsen, Bo Huyghebaert
music Felix Kubin, Mord Records, Why the eye, sonaBLAST! Records, Rrose, The Fanny Pads, Restive Plaggona
sound Anne van de Star, Peter Lenaerts
lighting Minna Tiikkainen • costumes Jennifer Defays
Sadler's Wells East, Stratford • 10-12.Apr.25 ★★★★

Inspired by the speed, precision, fluidity and persistence of skateboarders, Danish choreographer and dancer Mette Ingvartsen developed this piece to reflect a subculture rooted in rebellious behaviour that embraces the tension between art and commercialism. The show is cleverly designed to look like young people randomly at play, embracing the sport's imperfections in falls and collisions, which add an improvisational element to the choreography. And as it traces a day and night, it also becomes a celebration of both anarchy and community.

The large stage at Sadler's Wells East is set up like a typical skate park, with ramps, rails, platforms, jumps and fences. Before the show, local children and teens have a go on it in their own style. Then at the designated time, the eclectic cast of Skatepark takes over with a more coordinated attack. A mix of male and female skateboarders, roller skaters and acrobats spirals around the space, enthusiastically performing tricks while playfully interacting with each other. They also join in performing the music, with guitars, percussion and vocals throughout the show.

As the piece continues over about 90 minutes, small vignettes appear here and there with shapes and movement, plus some competitive segments in which gymnasts challenge each other to do handstands and skateboarders attempt to jump over increasingly high obstacles. From pre-teens to young adults, these are seriously adept performers, mixing choreographic synchronicity with personal style and impressive skills. And because the show is continually shifting, the repetition never gets boring. Indeed, it's increasingly gripping because we never know where it's going next.

Later on, the stage fades to black and there's an extended sequence with isolated lights and masks that mixes dance, music and performance art. The visual effect is stunning, and it also extends the sense of youthful optimism and defiance that emerges from these talented performers. It's as if they are announcing their independence from what is considered to be civilised society, happily joining with friends while working hard to perfect something they love. So the lingering question is what will they do when they grow up? Or are they already there?

For details, SADLER'S WELLS >

photos by Pierre Gondard • 10.Apr.25

Critical Week: Executive action

This has been a quiet week for press screenings, so I've enjoyed having some time to catch up on other things that have been pressing. It also helps that the weather has been sunny and nice, our first proper London spring in three years. The biggest film I watched this week was a bit of wishful thinking. In the action thriller G20, Viola Davis plays a no-nonsense US president fighting some nasty baddies. Essentially a revamped Die Hard, the movie is familiar and very silly, but also a solid guilty pleasure.

BEST OUT THIS WEEK:
Holy Cow • Warfare
ALL REVIEWS >

Other films this week included two offbeat music documentaries: Kevin Macdonald's One to One: John & Yoko follows a couple of pivotal years for the artists in protest-filled New York, adding a skilfully kaleidoscopic context to the music. And The Extraordinary Miss Flower is a beautifully swirling concoction exploring how Icelandic singer Emiliana Torrini was inspired by a letters that revealed another woman's passion-filled past.

There were also a few things outside the regular release schedule. I attended a terrific screening and Q&A for the new Black Mirror episode Hotel Reverie, with Charlie Brooker, Emma Corrin and others. It's a gorgeously surreal love letter to classic movie romance. I finally caught up with Pedro Almodovar's involving, beautifully made Western short Strange Way of Life, starring Pedro Pascal and Ethan Hawke as cowboys who can't admit they love each other. And I attended two stage shows: lockdown drama Jab at the Park and the raucous Jane Austen adaptation Plied & Prejudice at the Vaults.

This coming week, the films I'll be watching include Michael B Jordan in Sinners, the tennis drama Julie Keeps Quiet, Norwegian horror movie The Ugly Stepsister and the sailing documentary Wind, Tide & Oar.

Stage: Stumbling on something witty

Plied and Prejudice
by Matthew Semple
director Dash Kruck
with Emma Andreatta, Brigitte Freeme, Andrew Macmillan, Monique Sallé, Tim Walker
hosts Alexia Brinsley, Zak Enayat
musicians Olivia Warren, Antonia Richards
set/costumes Penny Challen • movement Dan Venz
sound Aidan Jones • lighting Joe Willcox
The Vaults, London • 13.Mar-18.Jul.25 ★★★

After a hit run in Australia, this raucous adaptation of Jane Austen's classic novel lands in London, taking up residency in The Vaults theatre space under Waterloo station to celebrate 250th anniversary of the author's birth. As the title suggests, this version is loose and irreverent, and it playfully incorporates elements from both the iconic 1995 BBC adaptation (including Colin Firth's wet t-shirt moment) and Bridgerton. Meanwhile, the venue brings its own opportunities and challenges.

Using a traverse stage, as actors charge up and down a catwalk between two halves of the audience, this is a hugely physical show with five Australian performers playing more than 20 roles that require energetic costume and personality changes. And audience members stand in for a few more. These gifted circus-style performers gleefully exaggerate each character's specific traits, having a lot of fun with outrageous slapstick moments and improvisational gags that keep the audience laughing while also cracking up their fellow cast members. And since there is constant encouragement to order drinks, the atmosphere resembles a chaotic hen night.

The show opens in the bar with a prologue that's fairly incomprehensible, simply because it's so difficult to hear what's being said into the muffled sound system. This problem continues into the much larger performance space, where we can only hear the hilariously witty dialog if it's spoken nearby. So it's frustrating to hear the other end of the room erupt in laughter at a line we couldn't hear. Even so, the buoyant performances carry us through Austen's familiar story, punching each moment with a flurry of sharply pointed gags, goofy asides and inventive mayhem. Along the way, the plot of Pride and Prejudice plays out with a fresh sense of mischief that gives the underlying themes and emotions a whole new spin.

Amid the flurry of outrageous characterisations, standouts include Andrew Macmillan's astonishingly slimy Mr Collins and Emma Andreatta's amusingly imperious Lady Catherine. Meanwhile, Brigitte Freeme and Tim Walker play out Elizabeth and Darcy's romantic-comedy storyline with charm and snap, with the added challenge that Walker must constantly run off to play Elizabeth's three younger sisters, all at the same time. And Monique Sallé adds an enjoyable blast of sarcasm to her scenes. She and Freeme also have the most trouble keeping a straight face.

The Vaults have been lavishly decorated for this show's four-month run, with murals covering the walls in multiple spaces, matching the colourfully hand-painted style of the costumes. And with a generous dose of ribald humour, this cast is having so much fun that we can't help but enjoy ourselves, even as we strain to hear the jokes and grapple with a series of confusing QR codes to order another drink. Afterwards, the show moves back to the bar for a proper rave afterwards, and we're definitely in the mood for that.

For info, PLIED AND PREJUDICE >

photos by Guy Bell • 4.Apr.25

Stage: Lockdown diaries

Jab
by James McDermott
dir Scott Le Crass
with Kacey Ainsworth, Liam Tobin
lighting Jodie Underwood • music & sound Adam Langston
Park Theatre, London • 2-26.Apr.25 ★★★

Inspired by true events, James McDermott's drama feels like a period piece, set very specifically during the pandemic. And while it nostalgically journeys through the key events and issues of those years, the focus is on a marriage that was already in trouble before lockdown pushed it over the edge. The two actors are excellent, playing the short, sharp scenes with punchy interplay that is often wordless. But the story never feels layered enough to resonate meaningfully.

It opens as NHS worker Anne (Kacey Ainsworth) starts working from home during the covid outbreak. Her well-paying job has supported raising two sons with her husband of 29 years, Don (Liam Tobin), who runs a vintage shop that doesn't bring in much. And now that it is forced to close, his only earnings are from government grants. Anne never lets Don forget that she's the breadwinner and he's a slacker. And he never shows any respect for her at all, beliveing it's her role to cook, clean and take care of his sexual needs. So it's not surprising that being stuck at home together brings larger tensions to the boil.

Much of this is very ugly, even if there are glimpses of affection and camaraderie between Anne and Don, plus some warm nostalgia when they're drinking. But there is also verbal and physical abuse. So neither is very likeable, striking low blows that cut deep as they increasingly separate from each other across the four armchairs lined up on the stark living room set. As the title suggests, vaccines play into the story, as Don refuses to get the jab, even as Anne is working in vaccination and testing centres. He resents her insisting that he should be vaccinated, when his beloved Daily Mail shouts nonstop about fake side-effects. And she tells him she'll resent him when he dies.

No prizes for guessing where this goes. Director Scott Le Crass stages this cleanly in the small studio space, as events unfold in sometimes very tiny fragments over many months. Both Ainsworth and Tobin are gifted actors who are able to provide some subtext to their roles. This makes the characters intriguing, even if they're only rarely engaging. But the main problem is that this is a pointed play about the strain covid put on relationships, and it never finds much to say to us five years after the fact.

For info, PARK THEATRE >

photos by Steve Gregson • 3.Apr.25

Critical Week: Battle scarred

There were three big film screenings this week. The filmmakers and much of the cast turned up for the European premiere of Warfare, at which I had chats with Kit Connor (pictured), Will Poulter, Michael Gandolfini and D'Pharaoh Woon-A-Tai. Depicting an intensely gripping battle during the Iraq War, this is easily the best film I've seen so far this year. 

BEST OUT THIS WEEK:
Four Mothers • Freaky Tales
The Most Precious of Cargoes
ALL REVIEWS >

I also attended the UK premiere of The Amateur, attended by the filmmakers and Rami Malek, Laurence Fishburne and Caitriona Balfe. It's an engaging original thriller, but a little underpowered. And while the stars were at the premiere on the other side of Leicester Square, I was at a lively press screening of the enjoyably dopey A Minecraft Movie.

In addition, I caught up with Miguel Gomes' stunningly lyrical road movie Grand Tour and the entertaining, gripping and very offbeat British bad-neighbour thriller Restless. The 39th BFI Flare also wrapped up over the weekend with a number of films and a big party.

This coming week I have very few screenings in the diary for some reason. But I'll be watching Viola Davis in G20, the documentary One to One: John & Yoko and there are sure to be others.

BFI Flare: People get ready

The 39th BFI Flare festival wrapped up this weekend with a terrific closing night film in Night Stage, which led to a superbly celebratory wrap party. Here are comments on that film and one other, plus notes on the shorts I managed to catch and my best films of the festival..

Night Stage [Ato Noturno]
dir-scr Filipe Matzembacher, Marcio Reolon; with Gabriel Faryas, Cirillo Luna 25/Br ****
From the opening shot, this Brazilian drama channels the surging operatic sensibilities of Brian De Palma's 1980s erotic thrillers. But what's coming is thoroughly rooted in the present day, mixing more open-minded public opinion with ideas that are still transgressive. Filmmakers Filipe Matzembacher and Marcio Reolon create a wonderfully lurid visual sensibility alongside characters who are complex, shady and likeable. And they delight in making us think.

Some Nights I Feel Like Walking
dir-scr Petersen Vargas; with Miguel Odron, Jomari Angeles 25/Ph ****
Lush cinematography captures the colours and textures of the Philippines, creating a vivid backdrop for this gritty drama about a group of fast-talking teens who run wild in the streets. The plot sends them on an odyssey that's strongly involving, largely because the characters and situations are so complex. Writer-director Peterson Vargas includes a terrific mixture of emotions in these found brothers who care for each other in the face of hatred.

Shorts 
I only saw 11 short films at this year's Flare, which is a very small number for me. These include this year's strong selection of Five Films for Freedom, which are available free to view worldwide during the festival. My favourite was one of these, Dragfox (Lisa Ott, UK), a witty stop-motion musical comedy about a boy who is coaxed by a cheeky fox (voiced by Ian McKellen) to let his true self out into the world. Other favourites included the earthy street-kid drama Home (Donja R Love, US) and the snappy dress-up-and-sing comedy Wait, Wait, Now! (Ramon Te Wake, NZ).

Rich's Best of the Fest

1. 
   High Tide (Calvani, US)
2. Viet and Nam 
   (Truong, Vie)
3. Night Stage
   (Matzembacher/Reolon, Br)
4. The Astronaut Lovers (Berger, Arg)
5. Memorabilia
   (Lum/Verow, US)
6. Departures 
   (Eyre-Morgan/Ely, UK)
7. Some Nights I Feel Like Walking (Vargas, Ph)
8. Really Happy Someday (Stevens, Can)
9. We Are Faheem & Karun (Onir, Ind)
10. The Wedding Banquet (Ahn, US)

Full reviews will be linked on Shadows' BFI Flare page when published.

Dance: Birds of a feather

Julie Cunningham & Company / Jules Cunningham
Crow / Pigeons
choreography Jules Cunningham
performers Harry Alexander, Nafisah Baba, Yu-Chien Cheng, Jules Cunningham, Matthias Sperling
Crow: soundscore JD Samson • design Julie Verhoeven
Pigeons: music Julius Eastman • costumes Loe D'Arcy
lighting Joshie Harriette
Sadler's Wells East, Stratford • 27-28.Mar.25 ★★★★

Part of Dance Reflections by Van Cleef & Arpels, this show features two pieces by Jules Cunningham, both of which use birds to explore issues of marginalisation in the vast but intimate new space at Sadler's Wells East. Each of these performances looks at issues of isolation and community, obstacles and freedom, through the eyes of vulnerable beings in the big city. So there are moments in each piece that are dazzlingly powerful, especially in the way the music combines beautifully with the skilled dancers' movement. At the same time, they also remain just a little out of reach.

Crow features Cunningham and Harry Alexander performing on a huge stage dotted with offbeat artefacts that create little spaces. In one of these, JD Samson performs live at a DJ deck, interacting with the dancers. Dressed like New Romantics, their movements resemble crows, individualistic but mimicking each other, moving in start-and-stop circles and striking staccato poses, reacting to the music. They also observe their surroundings, including an extended period when they amusingly stare down the audience. The lighting features red and black against a background screen featuring a swirling collage of colours and shapes. The kinetic performances are loose and offhanded, creating lovely rhythms and shapes without even a hint of emotion.

By contrast, Pigeons is more lyrical from the start, as all five dancers fill the stage by darting around in various formations, spiralling off on their own or moving together in fascinating layers of synchronicity. The costumes are floaty, deconstructed streetwear, and the way they group together and spin apart is fluid and naturalistic, beautifully augmented by Julius Eastman's multiple-piano piece Gay Guerilla. With very little arm movement and no lifts, the dancers convey feelings of isolation as well as unity, creating engaging connections that soar and resonate lightly. They also leave us with something to think about after the show. 

For details, SADLER'S WELLS >

conceptual photos by Studio Long • 27.Mar.25