Wednesday, 22 May 2013

Australian Dance Theatre in 'G'

This was amazing , totally sensational . Rave rave 

here's what I said for the ( new look )  Sydney Arts Guide

Pic Chris Herzfeld
Pic Chris Herzfeld
Hotly anticipated and at the start of a national tour, this very short visit by Australian Dance Theatre from Adelaide with ‘G’ would have to be one of Sydney‘s dance calendar highlights for 2013.
This is Stewart’s second ‘deconstruction’ of a major classical ballet piece – the first was his terrific ‘Birdbrain’ based on ‘Swan Lake’. While based on the same work, it is about as different from the traditional ‘Giselle’ (a la the magnificent Paris Opera Ballet’s version seen here in January for example) that you can get. It is a driving, relentless full throttle contemporary deconstruction of  ‘Giselle ‘ with amazing dancing. Technically it superb, performed with extraordinary energy ,speed, commitment and control . In Stewart’s choreography , while using classical technique as a base, there are elements of tai chi, fencing and breakdancing ( among other things ) included .Stewart demands that the dancers be incredibly athletic, almost boneless and prepared to throw themselves around the stage in explosive yet soft jumps and rolls. There is an incredible intensity and energy throughout.
Various snippets of the now ‘traditional ‘ Corralli/Perrott/Petipa choreography are referred to (eg Myrthe’s bouree , the Act1 pas de deux ), twisted and reworked. It all begins with a beautifully balletic turned out walk that, repeated and repeated, becomes almost conveyer-belt like . There are some sharp explosive small solos , contrasted with full ensemble work at some points. At one stage there is an angular writhing sculptural mass. Sometimes there are unexpected straight arms in low arabesque or angular arms , twitches and rolls and almost Bournonville like fast ,fleet footwork. There was a splendid moment when Samantha Hines ( I think ) became for a moment the idea of a Romantic fragile wraith like a leaf on a tree yet also dangerous and deadly. At various points all the  cast become Giselle , or Albrecht , or Hilarion or the vampire like Willis rather than one person specifically only playing one particular character.A sinuous,lyrical yet robotic topless pas de deux at a different point of the show must also be mentioned.
The dominant colour of this work is green (of the forest ?. Simply of the LED screen? )There is no real set as such apart from the large LED screen at the back shining with pixels that for most of the work has words or letters running across it , telling the story and analysing the characters of Giselle and looking at the position of women in society at the time. Costumes range from tracksuits to Gothicky like short semi-transparent tutus over leotards or a motley mix of these.With a nod to the original Adam score at the start and end of the show,Luke Smiles ‘ soundtrack beeps, hums ,throbs and crashes relentlessly .
Powerful ,hypnotic stuff this overwhelming astonishing work left the audience exhausted and breathless with excitement .  The running time was one hour straight through.
Australian Dance Theatre’s G played the Sydney Theatre between the 16th and 18th May and then tours nationally.

The Human Rights and Arts Film Festival is coming to Sydney !

here is link
It is on May 28 - 30

Circuit by new company The Oligarchs coming to the Old Fitzroy Theatre

This sounds most exciting

The Oligarchs and Sydney Independent Theatre Company present the world premiere of
A multi-playwright project by Sean Corcoran, Grace De Morgan, Michael Drysdale,
Josh Forward, Anika Herbert, and Amanda Yeo

The Oligarchs, a new Sydney-based theatre collective founded by Grace De Morgan and Josh Forward, brings together talented, young theatre-makers for Circuit. This production follows six characters in a gym through six intersecting monologues by six playwrights. This darkly funny play scratches below the sweaty surface of gym-goers and the modern day gym culture to explore what we're working out while we work out.
Under the direction of Josh Forward, writers Grace De Morgan, Sean Corcoran, Michael Drysdale, and Anika Herbert perform their own devised monologues. Tom Mesker and Aimee Timmins join the cast to perform characters written by Amanda Yeo and director Josh Forward.
In Circuit's gym, you'll find a disgruntled yoga teacher who is more nasty than ‘namaste’, a gay gym rookie who realises he’s a skinny fish amongst the plenty-of-fish-in-the-sea, a gym salesman who has a different personality for each potential pitch, a treadmill enthusiast who knows exactly what every cell in his body is up to, a woman attempting a step class with the aid of her vision mentor – Jane Fonda circa 1985, and a novice who understands that Zumba is the next step in feminism (even if her girlfriend doesn’t agree).
Playing at the Old Fitz from 4-29 June 2013, Circuit has been a labour of love for The Oligarch since its conception nearly a year ago, and the journey to stage has been a modern example of how independent theatre is finding a place for itself in Sydney. After recommendations by Creative Partnerships Australia, The Oligarchs started a Pozible crowd funding campaign to gain financial support for the project (which was listed as a ‘Pozible Ambassadors'  favourite project’ and one of Yen Magazine's top five projects to watch out for). From there Circuit warmed up, going into development with The Rocks Pop-Up for four weeks of creative experimentationt. Now it comes to the history-rich Old Fitz theatre to stretch its legs and work up a sweat.

Season Dates: 4 – 29 June
Venue: The Old Fitzroy Hotel theatre
 129 Dowling Street, Woolloomooloo
Days/times: 8pm Tues – Sat, 5pm Sun
Previews: 4 & 5 June 2013
$32 full, $26 concession, $21 cheap Tues & previews
$39/$34/$29 dinner, dessert, and show
Website and online bookings:
Phone enquiries/ Bookings:  1300 307 264

Blue Man Group coming !

This should be amazing .I have seen them before and they are fabulous .Can't wait!
Experience Awesome
 From 10 August � Sydney Lyric Theatre
Tickets on Sale Monday 6 May
 The Hon. George Souris, Minister for Tourism, Major Events and the Arts announced that Blue Man Group, the international entertainment phenomenon, will play an Australian premiere season at the Lyric Theatre, Sydney, from August 2013.
 Producer Rodney Rigby (Jersey Boys, The Addams Family) said �After years of planning I am thrilled that Blue Man Group is now coming to Australia.  This brilliant show has been entertaining audiences for 25 years and has launched one of the most innovative performance groups ever.  First time audiences leave the theatre astounded by the excitement of a Blue Man Group show resulting in one of the highest return businesses of any theatrical event.  People of all ages just love the Blue Man Group experience � I am sure that same excitement will also be felt by Sydney audiences.�
 Blue Man Group is not just a show, it�s a state of mind.  Best known for its wildly popular theatrical productions and concerts that combine electrifying music, sensational technology, comedy and multimedia theatrics to produce a totally unique form of entertainment, Blue Man Group creates experiences that defy categorization.  Performances feature three bald and blue characters who take the audience on a journey that is funny, intelligent and visually stunning in a blissful party atmosphere.  Blue Man Group is accompanied by a live band whose tribal rhythms help drive the show to its unforgettable climax.
 Having utterly redefined the term �live entertainment,� Blue Man Group continues to reinvent itself.  The wildly popular show now combines signature moments with breathtaking new pieces that simultaneously employ and skewer today�s cutting edge technology.  It makes for an explosive evening of entertainment.  New sections include Blue Men interacting with �GiPads� (think Gigantic iPads), a funny and perceptive look at contemporary modes of communication; and a pulsating new finale featuring an original Blue Man Group music score that will have guests jumping to their feet.
 �Over the years, we have grown as artists and the world around us has transformed.  These changes are reflected in the new material we�ve generated and implemented into this show,� said Chris Wink, who co-founded Blue Man Group with Phil Stanton and Matt Goldman.  �The heart of our show is, and always has been, the Blue Man, and his inquisitive, wide-eyed take on the world, but we have developed some brand new elements that provide a larger-than-life, rousing, interactive experience that I hope will really speak to all cultures and give some of our most devoted fans a new reason to check us out again.  We can�t wait to get this material in front of Australian audiences for the first time!�
 Having first performed twenty five years ago, to date over 25 million people across the globe have seen a live Blue Man Group performance.  Blue Man Group�s wildly successful rock concert arena tour, Megastar World Tour, visited nearly 300 cities across the United States and performed in over 10 countries and has been experienced by over 2 million people.  Blue Man Group�s debut album, Audio, not only went Gold but also garnered a GRAMMY nomination.  Today, Blue Man Records is prolific in recording albums, producing DVDs and documentaries and collaborating on the scores of hit television shows and major motion pictures.
 Currently, Blue Man Group theatrical shows can be seen in New York, Boston, Chicago, Las Vegas, Orlando, Berlin, and on tour throughout the U.S. 
 Blue Man Group will be produced in Australia by Rodney Rigby together with the support of Destination New South Wales, the NSW Government�s tourism and major events agency.
Date                    From 10 August, 2013 for a strictly limited engagement.
Venue                 Sydney Lyric Theatre
Times                 Tuesday at 7pm
                            Wednesday � Friday at 8pm
                            Saturday at 4pm and 8pm
                            Sunday at 3pm and 7pm
Bookings  or 1300 795 267
                            VIP & Dining Packages �

Sunday, 19 May 2013

Opera's Triple Threat coming up...

this sounds fabulous

Operas Triple Threat - A birthday party for Verdi, Wagner & Britten
Featuring Cheryl Barker & Stuart Skelton, Sydney Philharmonia Festival Chorus & Orchestra, conducted by Brett Weymark

Saturday 8 June - 2pm and Sunday June 9 -5pm - Concert Hall, Sydney Opera House
Sydney Philharmonia is celebrating three big anniversaries in 2013 (bicentenary of the births of Verdi and Wagner and centenary of the birth of Britten).In theatre, a triple threat is someone who can sing, dance and act. In opera, we like to think it's a triple treat of music, drama and passion. Our three birthday boys - Verdi, Wagner and Britten - had that in spades. 2013 marks the bicentenaries of Verdi and Wagner, and the centenary of Britten, and we're delighted to be presenting this program of highlights from some of their greatest creations in one concert program devoted to some of their greatest works with a choir of 300+ voices and orchestra conducted by Brett Weymark.

The program includes highlights from: Verdi Otello  (Incl. the love duet Gi nella notte densa and the Willow Song), Britten Peter Grimes (Incl. Now the Great Bear & Pleiades and the Embroidery aria) Richard Wagner Tannhauser, Lohengrin and Die Meistersinger.

Stuart Skelton will be performing excerpts from Verdi's Otello for the first time in his career. This will be his only Sydney appearances in 2013 immediately after performing Stravinsky's Oedipus Rex with the London Symphony under Sir John Eliot Gardiner and before he performs in the Paris Opera Ring cycle, Seattle Ring, Melbourne Ring and a return performance with the Berlin Philharmonic under Sir Simon Rattle. 

Cheryl Barker returns to Australia after performing Madama Butterfly for Welsh National Opera and before her Tosca for Opera Australia and Desdemona in Verdi's Otello for Opera Queensland.

Opera's Triple Threat
Sydney Philharmonia Festival Chorus and Orchestra

Friday, 17 May 2013

Bus to STC

on a slightly different note

why has the 433 bus that went down to the STC / Sydney Dance /Sydney Theatre suddenly been discontinued with virutually no warning ? It was bad enough that it only went after 630 ish in the evening but was good for getting home . It has been discontinued because of ' lack of patronage'  sigh. No consideration for those who work there or are trying to get home after a show and what about the Writers Festival which starts next week ? On the bus yesterday ( which was late anyway -  typical ) I caught trying to get to ADT's opening night there were 3 other ladies trying to get to the Sydney Theatre as well .The STC / SDC Wharf area is a fabulous place but a real pain to get to .There should have been more not less buses !! . We do not need a 20 minute or more walk to the Quay or Wynyard .  And what about people with trouble walking , oldies etc ..
I could be wrong but so far as I am aware there were no emails sent from the STC or the SDC advising us beforehand about the bus cut and no information about the bus being discontinued is on the website and nothing on the state transit site either.It is not 'Public Transport' it is pathetic 'Public Incovenience' the system is appalling.

STC' s Suncorp 20s

Hooray for Suncorp and this excellent idea with the Sydney Theatre Company's-on/suncorp-twenties.aspx

Monday, 6 May 2013

'Fury' by the STC

A fantastic show here's my rave for artshub

Harry Greenwood, Geraldine Hakewill, Sarah Peirse and Robert Menzies in Sydney Theatre Company’s Fury. © Lisa Tomasetti 2013.
This explosive play – the latest work by the wonderful Joanna Murray-Smith (Ninety, Honour, Bombshells) – questions the very fabric of our society as well as our entrenched beliefs. What is ‘good’?’What is ‘evil’? Are one generation’s hidden emotions – hurt, rage and anger – revealed, and in fact echoed, in the next?

Fury is an intense drama that examines a superficially ‘perfect’ upper middle class family whose liberal foundations are shaken to the core by unexpected revelations. Alice is a top neuroscientist about to be awarded a very important humanitarian prize. Her husband, Patrick, is a famous writer with several bestselling books to his credit. Both are caring, compassionate people left stunned and bewildered when their teenage son Joe, who is doing his HSC and having a difficult time at school, graffiti’s a local mosque.

Being parents they blame themselves; numerous discussions about parenting, children’s safety, and our changing society result as the pair play the guilt game. Religious beliefs, morality, and the difference between protest and terrorism are explored. The ‘generation gap’ issue arises, as does the lack of communication between families. Murray-Smith also examines the way we deal with our instinctive desire to shape our children and their refusal to comply.

As Alice, Sarah Peirse is absolutely magnificent; she gives an intense, passionate performance. When her shocking secret is revealed, it causes Patrick to question everything he knows (or thinks he knows) about her.

The (generally) quieter, hunched, intense Patrick was grippingly played by Robert Menzies. The character, who appears to be Murray–Smith’s sounding board for discussions about art, politics and society, has some difficult, convoluted but incendiary speeches (almost rants) which Menzies handles well. A superb performance.

Fresh faced, rebellious Joe, full of teenage angst and the catalyst of the crisis, was excellently played by Harry Greenwood.

While Alice and Patrick represent the world of education and privilege, Anne (Claire Jones) and Bob (Yure Covich), the parents of Trevor, one of Joe’s school friends, are far more ‘ordinary’. Or are they?

Rebecca, the young journalist who is preparing an article on Alice, and who turns out to have unexpected links to the family, is terrifically played by Geraldine Hakewill.

Murray-Smith’s writing is tremendous and biting (the audience roaring with laughter at certain points thanks to Murray Smith’s caustic wit) and features an impressive use of rhythm, repetition and overlap. The stage is sparse, featuring two large, looming walls and a couple of chairs, allowing for fluid scene changes. Of particular note is the specially-made terrazzo floor. The lighting by Schlieper and Twyman is excellent.

Under the tremendous direction of Andrew Upton, and featuring magnificent performances, this searing production explodes our complacency.

Rating: 4 stars out of 5

Sydney Theatre Company presents
By Joanna Murray-Smith
Director: Andrew Upton
Designer: David Fleischer
Lighting design: Nick Schlieper Chris Twyman
Composer and sound designer: Max Lyandvert
Assistant director: Imara Savage
Cast: Yure Covich, Harry Greenwood, Geraldine Hakewill, Claire Jones, Robert Menzies, Sarah Peirse, Tahki Saul
Running time: 1 hr 45 mins (no interval)

Wharf 1, Sydney
15 April – 8 June

Willoughby Symphony in The Emperor

This was a glorious concert at the Concourse
here's what I said for artshub

The Emperor

The Emperor
Conductor Tom Woods
This latest concert by the Willoughby Symphony Orchestra was superb. Under the energetic, bouncy direction of maestro Tom Woods we were treated to a glorious 19th Century Romantic program.

After a brief introduction by Tim Long, head of performing arts at Willoughby Council, first came a jaunty, sprightly Mozart overture, crisply played and with breathless use of repetition. Much fun.

The main theme of both of the major works in this concert was prolonged introspection, with the highlight being the eagerly anticipated Beethoven Piano Concerto no 5 Op.73 E Flat Major (‘The Emperor’) written in 1809. For this performance, the Willoughby Symphony Orchestra was joined by special guest pianist, Piers Lane.

Maestro Lane, looking very distinguished in a tuxedo, played on a polished, reflective, black Steinway. At times his playing was fiery and passionate and he played with a quivering intensity. At other times his playing was fragile and delicate. Rippling and shimmering, the notes cascaded like liquid jewels. His exquisite playing was matched and supported by that of the orchestra, in this sometimes sharp and explosive, sometimes lush, rich, lyrical and soaring work. The audience went mad at the end with screams of ‘Bravo!’ and Lane was coerced into a short, sparkling encore full of musical in-jokes that had those in the know in fits of laughter.

After interval came Schubert’s Symphony no 9 D.944 C Major (‘The Great’) written 1825-26. The heavy length of this work was treated as natural; in it, one could hear the influence of Beethoven’s majestic 9th Symphony influence on Schubert. With a distinct emphasis on the strings, we were treated to a marvellous performance of this piece. The orchestra, as led by Woods, was in great form, with fine ensemble playing and a buoyant sound, sometimes scurrying and storm-tossed, at other times lushly Romantic. Particularly in the third movement there was tumultuous, controlled yet exuberant playing. Throughout the work, under Wood’s excellent baton, the various contrasting moods were carefully delineated. The concluding fourth movement was very Allegro Vivace indeed!

A magnificent concert to be richly treasured. Book now for the rest of the series!

Rating: 4 stars out of 5

The Emperor
Willoughby Symphony Orchestra
Conductor: Tom Woods
Concertmaster: Caron Chan

Mozart – ‘Der Shauspieldirektor ‘ K486 (‘The Impressario’) Overture
Beethoven – Piano Concerto No. 5 op 73 E Flat Major (‘The Emperor’)
With special guest pianist Piers Lane
Schubert – Symphony No. 9 D 944 C Major (‘The Great ‘)
The Concourse, Chatswood
27 – 28 April

Australian Ballet in Vanguard

A most exciting triple bill .Here's what I said for artshub


Amber Scott and Adam Bull in Dyad 1929 from Vanguard. Photo: Branco Gaica.
Under the umbrella title of Vanguard, the Australian Ballet brings us three major works by three major choreographers, all considered challenging and confronting in their day. They are presented in chronological order of choreographic composition, and it is most interesting to observe the differences in styles and how the idea of ‘contemporary dance’ has changed and developed over time. All were danced absolutely magnificently.

The most dated work, I am afraid, is the earliest, Russian/American master Balanchine’s The Four Temperaments (1946). Technically the dancing was phenomenal and performed with exuberance and vigour but there was no emotional contact with the audience. On a plain bare stage, it was performed in ‘standard’ Balanchine black and white leotards/practice clothes, so was extremely revealing and challenging for the dancers. The starkly neoclassical choreographically was in parts perhaps a little repetitive, though the stark approach to the work allowed one to spot tiny choreographic phrases from Balanchine’s other works – Apollo, The Prodigal Son and The Firebird for example – and also to see how he prefigured Macmillan’s Manon. I also noted a particularly distinct style of épaulement for this work. Some of the solos were amazing, but the dancers were like machines briskly performing on the beat. Some of the famous Balanchine fleet footwork contrasted with a controlled floating movement in one of the pas de deux, and Lana Jones was astonishing in the explosive yet controlled ‘Choleric’ solo toward the end. Adam Bull was marvellous in the ‘Phlegmatic’ solo and I also especially liked Ako Kondo and Chengwu Go in the opening second theme pas de deux.

Audience favourite was the ravishing yet possibly challenging and confronting middle work, Bella Figura by Czech master Jiri Klylian (1985). Bella Figura means ‘beautiful figure’ – as in the body moving in space, as in life drawing. There are two tilted clear plastic boxes with nude mannequins visible when the show starts, and some of the work is performed topless. When the audience returns during interval the dancers are ‘marking’ the work on stage already then blackout and the curtain shifts...

A wonderful floating ‘caught in the curtain’ opening solo for a topless female dancer is presented at the start of the work. As devised by Kylian, the black curtains shift and change shape throughout the performance, sometimes blocking a lot of the stage and concentrating our attention on specific sections. Kees Tjebbes’ atmospheric lighting was stunning. For about a third of the work the dancers are in extraordinary, huge, rustling, tumbling, bell-like red skirts, almost like soft sculptures. For the final section there is a tender, lyrical pas de deux with a fire burning in the background. Performed in silence, it had the audience rapt.   

Warning: for the last work, 2009’s Dyad  1929 by British choreographer Wayne McGregor (currently resident choreographer for the Royal Ballet in London) you might like to consider taking sunglasses. If you get migraines or similar the spotted set could possibly affect you visually and physically. Adding to the sense of visual tumult in this work is a luminous yellow bar that is lowered and raised at certain points in the work. The dancers have to appear boneless – choreographically and technically it is amazing, fiendishly, athletically difficult and at various points seemingly almost physically impossible. Steve Reich’s score is driving and relentless.

Created for the Australian Ballet in 2009 as part of the Diaghilev Ballets Russes centenary celebrations, Dyad  1929 is pure abstract dance, almost as if the dancers are inside a computer. The cast wear various assorted black beige or white costumes, some spotted or dotted, some in geometric designs, some a plain colour. There is use of a high, soft, pulled up jump but mostly the dancers are in various fast eddies and swirls of movement. Some of the lifts in the pas de deux are amazing. Lana Jones has a solo inside a yellow circle. It is also interesting to possibly observe both the Cunningham and Balanchine influence in McGregor’s choreography for this work.

A fascinating triple bill, especially as a snapshot of choreography over the past 50 years or so and how it has changed and developed, and featuring superb dancing.      

Rating: 4 stars out of 5

The Australian Ballet

The Four Temperaments (1946)
Choreography: George Balanchine
Repetiteur: Eve Lawson
Music: Paul Hindemith, ‘The Four Temperaments’
Solo Pianist: Stuart Macklin
Lighting Design: Ronald Bates reproduced by Graham Silver

Bella Figura ( 1995)
Dance Production/Choreography: Jiri Kylian
Assistant to the Choreographer: Elke Schepers
Set Design: Jiri Kylian
Costume Design: Joke Visser
Lighting Design and Technical Adaptation: Kees Tjebbes
Music: Lukas Foss, Giovanni Battista Pergolesi, Alessandro Marcello, Antonio Vivaldi, Giuseppe Torelli
Soprano: Celeste Lazarenko
Mezzo Soprano: Anna Dowsley

Dyad 1929 (2009)
Choreography: Wayne McGregor
Music: Steve Reich, ‘Double Sextet’
Stage Concept: Wayne McGregor and Lucy Carter
Costume Design: Moritz Junge
Lighting Design: Lucy Carter reproduced by Graham Silver

Sydney Opera House
30 April – 18 May

Tasdance in Luminous Flux

This was at Parramatta Riverside
Here's what I said for dance informa

Categorized | Australian Dance Reviews

Tasdance – Luminous Flux

Tasdance – Luminous Flux Riverside Theatres, Parramatta, Sydney
5-6 April 2013
By Lynne Lancaster.
Fresh from the Ten Days on the Island festival, in a blink-and–you miss it tour, Sydney was privileged to have a short visit from Tasdance at Parramatta Riverside.
In an exploration of light and ritual under Annie Greig’s direction, the company brought us a delightful double bill of contrasting contemporary dance styles that showcased some superb dancing in a striking, unusual combination. Both works demand split second timing and controlled precision.
First was the late Tanja Liedkte’s Enter Twilight, created for the company in 2004 before her tragic death in 2007. Three women in short dresses (red, green, purple-brown) with white collars emerge from the gloom – are they figments of the male’s imagination?
The set design features large boxes that are lit dramatically from underneath/inside. Some of the choreography is doll or robotic like, reminiscent of an updated Coppelia. At other point’s Liedtke’s choreography is possibly Cunningham-inspired in parts, requiring angular arms, immense control and a very flexible back. A sliding robotic bourrée on high demi pointe at times was used (all the dancers have fabulous pointed arched feet) and also, a fast sliding-while-sitting movement.
It examines the paradoxes that exist within life’s rituals: the light, the dark, the virtuous, the evil. Are the females benign or dangerous? Catwalk, model-like movements are contrasted with rolling floor work and there is an emphasis on over-precisely placed fourth position. The music hums, beeps and crackles in mysterious synchronicity.
The audience was rocking with laughter in places for Byron Perry’s Light Entertainment, where light is interpreted through repetition, improvisation and mystical, frivolous and pure physicality. ‘Light’ as in mood, but also in the jumps and in the tubes of light that the dancers, all in white costumes, manipulate to form a square, or vertical lines, or as if sword dancing.
Introduced by a witty acerbic voiceover, the work begins with a stationary, slow rocking side-to-side motion, which is expanded as the dancers eventually move in a travelling, writhing mass. Much fun is had with the exploration of speech and sound rhythms and blocks of movement are made on the horizontal, diagonal and vertical. One section, possibly revealing a Bonachela influence, is quite ritualistic. There is a concert sequence and one of the cast almost goes to sleep – this develops into a wonderful dance contest duet of various styles including breakdancing, Irish dance and Michael Jackson-like movement. This then develops into a fun section for the whole cast, using voice patterns and rhythms again. For the entire powerful, pulsating, throbbing culmination, much fun is had with hand-held torchlights dancing.
A striking and original double bill, Luminous Flux was two diverging, innovative and accessible works from two acclaimed artists.
Photo by Jen Brown.

Friday, 3 May 2013

Addams Family season extended and other exciting things

hi folks..

Book  now - The season of the fantastic ' The Addams Family ' at the Capitol has now been extended until June 9 Yay !
the hot ticket 'Cavalia' has extended its season until June 2
and 'They're Playing our Song' opens tonight at the Theatre Royal ( watch this space for my review)

stay tuned ...