Nothing to Lose

This was challenging and terrific http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/nothing-to-lose-246961 Print Email  Email to a friend Your email Please enter a valid email Your name Please enter your name Friend's email Please enter a valid email Friend's name Please enter your friend's name Verification (type the code in the image) Invalid security codeGenerate New Image Close Related Articles How to sell your story (Premium locked content) Humans are programmed to care about stories so making the most of yours will help market your work. Unveiled: latest program announcements Tantalising programs at Sydney Film Festival and The Festival of Voices have been announced this week. How to capture differently-abled audiences (Premium locked content) Artists and companies looking to grow their audiences would do well to look towards people with a disability, who are often hungry for arts experiences. The Confidence Man A technical tour de force, subverting key notions of theatrical performance. Lynne Lancaster Sunday 25 January, 2015 A vibrant, challenging and confronting piece for Kate Champion's last work as director of Force Majeure. Image: supplied Directed by Kate Champion, whose interest was in 'exploring the movement and sculptural quality of the larger physical form' and presented by Force Majeure, a company with a strong reputation for innovative and edgy dance theatre work, this is a vibrant, challenging and confronting piece. Nothing to Lose is the latest and last in a series of works under Champion’s direction distinguished by strong social themes. Champion has turned her back on the traditional trim, athletic dancer’s body, and instead recruited seven very large performers whose fleshy forms lead to a new appreciation of moving to music. From the beginning, when the performers lie cushioned against each other in formidable looming mounds, and then slowly stand to stare at us, accusingly, we can feel their looming presence. Some dancers then walk down amongst the audience, repeating society’s waterfall of cutting fat insults as well as throw the condescending questions to us all: 'Is it healthy? What do you eat? Do you ever go for a run? How do you have sex? Do you lack self control? What about diabetes? Are you always jolly? In some ways it is like a medical questionnaire, chillingly neutral yet getting under one’s skin. A few hesitant, courageous audience members are then invited up to feel the bodies of some of the cast, as each stands on gallery plinths as if for a life drawing class. The post-modern 'limitlessness of form' is commented on by a ‘curator’. We’re encouraged to feel floppy stomachs and thighs, gently analyse heavy breasts and pat large bottoms. Nothing to Lose is never dull as it slides through a collection of vignettes. With dramaturgy by actor Steve Rodgers, much of the show’s introversion is in the text. Those questions voiced earlier – about the health and happiness of being large – are only partly answered. There is a wry, dark sense of humour throughout the script so we accept this approach as direct and honest even if uncomfortable. One performer has a monologue as an overweight 16-year-old being counselled on the challenges that lie ahead for her. An optimistic, finally guilt-free future is asserted but she’s informed the voyage will be difficult, whether through social prejudices or just the dismal reality of being considered 'too fat'. In a more choreographic approach, another performer, to a screaming soundscape, continually hurls her body to the ground with shuddering impact (in despair or frustration?) This is contrasted in another sequence to the music of Vivaldi where seven bodies wobble enchantingly. In another segment, a large blonde dancer brings new meaning to the definition of Opera when she jiggles and rolls to the soaring music of ‘Lucia di Lammermoor'. Champion’s choreography exploits the dignity and gravitas of these performers striding, posing across the stage as we segue into a seemingly catwalk-like exhibition of bodies who gyrate, strut, swing and reach their arms high. Designer Geoff Cobham has provided a suitable disco like backdrop of chrome scaffolding, his lighting nicely shadowed and angled to lighting to feature, sculpt and highlight the assorted bodies. The club dance floor is apparently a second home as the cast stretch into straps and leathers, the belts cross-thatching across their flesh, and show us the fun flouncy moves full of confidence and vitality. The show ends with a truly joyous line dance, with our seven main performers joined by a dozen enthusiasts erupting onto the stage for the big finale. For this production, Champion has collaborated with fat activist Kelli Jean Drinkwater. As Artistic Associate and Music Curator she has made a great contribution to the creative process and its outcome. This is Champion's last work as Artistic Director of Force Majeure, the company she founded in 2002. With both old and new colleagues working alongside her on Nothing to Lose, together they have achieved an extraordinary, challenging production. It is definitely the amazing performers' show who take charge of every move they make, whether breaking out with challenging, thrilling choreography or voluptuous and sensual steps. Champion and her team have given them an opportunity to shine wonderfully in this provocative, unpredictable and inspiring new production. Rating: 4 out of 5 stars Nothing to Lose Carriageworks, 21 - 25 January, 2015 Malthouse Theatre 11 - 21 March, 2015 Performers: Claire Burrows, Julian Crotti, Michael Cutrupi, Lala Gabor, Ally Garrett, Latai Taumoepeau and Anastasia Zaravinos Director: Kate Champion Artistic Associate and Music Curator: Kelli Jean Drinkwater Costume design: Matthew Stegh Set and lighting: Geoff Cobham Dramaturg: Steve Rodgers Choreographer (final piece): Ghenoa Gela Composer (final piece): Stereogamous Sydney Festival 2015 www.sydneyfestival.org.au 8-26 January