Dance & Physical Theatre: Soft Murders

Date: August 20th, 2009 Author: Victoria Cooke
Category(s): Dance & Physical Theatre: Soft Murders
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Physical Theatre
****
Soft Murders
Venue 13

This multimedia celebration of the arts focuses on the lives and paintings of gay artists.  The first setting mimics the paintings of Gilbert and George, bringing to the surface through dance their notion of living as one in a scene entitled ‘2Ps No Pod’.  The suited pair seem on the surface reserved, but gradually begin to writhe around one another, while the angelic looking chorus nervously examine each other’s naked torsos.  It’s a powerful celebration of the male form, reversing typical ideas of sexual objectification so that one feels guiltily voyeuristic, but compelled to watch.  The pair construct an uncanny resemblance to the artists themselves, moving in joint sequences until the climatic explosion of creativity that results in a sexual wrestle.  Through such imagery, the production suggests a link between male sexual desire and explosive creativity.

With the sudden introduction of a techno beat and red lighting, the stage is transformed into Andy Warhol’s infamous factory.  The cast appear in sixties underwear, led by Warhol himself in his iconic glasses.  This is where the production has found its balance; dramatically switching from the tragic and exploitative to the hilarious.

The final sequence restages the well known poses of Marilyn Monroe standing over an air vent, reminding us that Warhol made the actress far more iconic than her films did.  The trilogy ends with the strongest piece, acting out the violent and brutal images of Francis Bacon, including portrayals of his lover George Dyer.  This is the show’s strongest moment, conjuring up the same yearning and despair that we find in his paintings.  Dyer’s suicide is wonderfully portrayed using a technique from the Japanese “Noh” theatre, with ribbons flowing from his mouth in a stirring confusion of beauty and tragedy.

All the performers are completely committed in this celebration of physical performance.  It’s a dark piece, but the potent imagery will stay with you long after you leave the theatre.

VC