Sophie Page Hall, KAMIENSKI and Twosome Tales - Resolution 2020
A beacon of draped fabric cuts through the darkened space and provides the opening image for Out of Darkness. Engulfing the shadowy figure of choreographer and soloist Sophie Page Hall, the body and material swiftly merge into one. Scaling, comfortably hidden from sight, a series of aerial work occurs. Wrapping, swinging, spiralling; movement clauses connect to the rhythmic tongue of Hall’s spoken word monologue that overlays. The language itself provides little context for narrative, as it appears to reflect a projection of mis-matched thoughts as opposed to a cohesive trail of text, leading to disengagement. Perhaps this was intentional but to rely on 25 minutes of aerial work to maintain presence is a stretch.
KAMIENSKI’s Family Portrait provides the most movement material of the night, by far. Complete with interactions of varying sizes, fleeting moments of intrigue are found in how the bodies coil and weave around each other, navigating the in-between spaces. The strength of physical play draws attention to the technical ability, power and dynamism of the six-piece cast, however, as a seemingly character-lead work, the interpersonal relationships remain unclear and the familial narrative never reveals itself. Its disjointed structure and fast-paced transitions prevent the poignant moments of tension, in the form of pushing, pulling and convulsions, from finding its meaning and, ultimately, delivering a comprehensive solution.
Tim Burton, fairy tales and gothic imagery; Gruesome Twosome Tales’ The Quest for The Baby promised for a light and entertaining watch, a sweet successor to the intensity of the prior works. Strutting onto the stage, costumed in theatrical wedding attire, the corpse bride and groom grunt, pick and poke their way through the space, an evil plan in motion. Whilst Mateus Daniel and Daisy Franks’ performance relationship was somewhat amusing and the commitment to communicating a story was present in the production value, this work sits in a mediocre medium, requiring heightened expressive and physical animation if it aims to achieve the status of a gothic-horror pantomime piece.
Location of performance: The Place, London.
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