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Paul Hadfield & Linda Henderson

The Cherry Orchard

Review by: David Grant
Theatre Ireland, No. 15 (May - Aug., 1988), p. 44
Published by: Paul Hadfield & Linda Henderson
Stable URL: http://www.jstor.org/stable/25489199 .
Accessed: 22/06/2014 22:00

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Enlightenment or burlesque, Horizon dancers took energetically to the framework, individuals did however
have clearly taken on board their own visitors' movement vocabulary and make their mark. I was impressed on
maxim: Aimn for the grotesque or the danced with greater display than for one hand by the confidence shown by
sUblime;. wte Iie quite eniough (of the some time. Their ability in lifts, many Caroline Gray in doing so little. She
tmunJdane. complicated multi-person, was played Liubov Ranevskaya, the estate
exploited fully. Earlier I said that these owner the night I saw it (there were two
Joseph Long dances were almost plotless. The 'plot' casts). At the other extreme I respected
was a general element of relationship the courage of Jonathan McNab in
- now man/woman, now man/man and making his characterisation of Firs, the
now woman/woman. There was a per 87 year-old faithful retainer, so large
DUBLIN vasive air of sadness throughout the and so physical. In this I imagine that
CONTEMPORARY work, lightened by the joy of the second I detected evidence of the study of
DANCE THEATRE movement set to the well-known animals that forms an important part of
Gavotte from suite no. 6. The work the course's approach to character
Project Arts Centre ended with a set of silent tableaux as the work. McNab had, of course, to play
relationships were worked to finality. farthest away from his own age, and his
The lastmovement, however, was short evocation of the manservant, his hair
For Februarv Dublin Contemporary and gave the work an unfinished/ cropped almost to the skull, had a
Dance Theatre announced a week (1-6) rushed look. Overall, this work is a grotesque completeness that reminded
of performances in collaboration with welcome addition to the company's me of some of the characters of
their visitine teachers - from New repertoire though itwould benefit enor Mervyn Peake. Whether or not the por
York - Art Bridgman and Myrna mously from a substitution of Bach for trayal quite fitted with the, at most,
Packer. As originally announced the Roisin Dubh in the third movement. It heightened naturalism of the rest of the
work to be given was to include a is even more welcome because itmakes production is perhaps not a fair ques
nunmber of duet performances of their these dancers work and dance. tion in a context where an actor had to
own work. However a back injury to The rest of the programme consisted act so far away from his own age.
Bridgman. in the wveek preceding the of two revivals and one new work. The Other notable performances came
season, meant that he could perform in revivals were (three pieces from) from John Carty as Pyot Sergeyevich.
one week only In substitution for the Heaven Somewhere choreographed by the student, and from Aedin Moloney
lost duets. Myrna Packer performed Scott Clark (visiting teacher in 1987), as Anya, particularly when they
two solo pieces. These were a solo from which remains dense and unyielding to appeared together, when they enjoyed
Primate Songs and Concersation, both this viewer; and the lightweight an evident rapport. Perhaps the most
pieces co-choreographies by the Sojourn, choreographed in 1987 by accomplished performance, however, i
visitors . company member Robert Connor. The came from Risteard Cooper as the j
The duet performed was (Gastrato. new work was Warniing - Dawning by slightly (but not overly) eccentric
The title refers, in part, to the music company member Jenny Kavanagh. brother, whose care for detail pro
used - this was four recordings from This was set to the (loud) music of a vided many pleasing moments. Less
1904 bN theVatican castrato Allessandra group called Sonic Youth and an inter assured, despite undeniable stage
Moreschi. The work was obstensiblv minable song by The Doors. Costuming presence was Bill Monks as Lopakhin.
about power and, in particular. the was designer rags - thighs peeping He used his voice in a curious way -
reversal of the historical power base. through carefully holed tights. etc. As dare I say badly. A discomforting
i.e.. to the female frt'omthe male. This a view of the future it ",as tenth rate discox ery in an actor in training.
reversal was embodied inPacker dress Michael Clark. The inclusion in a Overall though, despite some dif
ing in mlens military gear - heavy public perfornmance of Wartning - ficuLltieswith sound effects, a very com
boots. etc. The piece was naive in Downing shows up what I perceive as plete and competent production, which
intent and content. though the opening a long-standing weiakness of this com I gather is soon to enjoy a revival. With
section was stunningly theatrical. This pany. viz., the lack of an (one) Artistic the exception of a dance sequence of
featured Bridigman manoeuvering up Director. considerable gusto, itwas also careful
and dowvn - soaring and descending to ly restrained. I look forward to seeing
the music - across a hanging fram.c Paul O'Brien these actors again, perhaps in a con
reminiscent of staff notation. Regret trasting piece where they can have a
tably. for this writer, the dance content slightly freer rein.
was miinimal.
The visitors' tinal contribution to this THE CHERRY ORCHARD David Grant
programmne was a work created on the Lombard Street Studios, TCD
company during their residency. This
is called hiter 77TatDav. It All Ctainie
Bacwk.The work was in four sections - This was Michael Joyce's first public TOM & VIV
one, two and four danced tomovements showcase since taking over Trinity's Project Arts Centre
fromiiJ. S. Bach'S uLnaccompanied cello Diploma Course for actors. A produc
sulites, while part three was not. This tion of considerable refinement. itwas
wAas danced to the traditional tune marked for me above all by the Rough Magic's production of Totrn&
Roisin Dubh - why do visiting selflessness and self-discipline of the Vir by Michael Hastings, directed by
choreographers. particularly from the individual performers. They achieved Lynne Parker is the most thoughtful
UJSA. always feei the need to shove a notably high degree of stylistic con and thought-provoking piece of theatre
SomIle Irishniess into thfeirw\ork here) sistency. in circumstances where it I have seen so far this year. Each
This mIIUSiClustdid rnotsit with the Bach would have been understandable had character is thoroughly well realised,
and was just wrng. The work was a they been trying to stand out from the and the complex range of relationships
set of almost plotless dlances where the crowd. The style was economical yet that the play presents to us are all
daLncers spurn. juniped aind threw one precisely mannered - crisp, brisk and delicately balanced and profoundly
another ahbot, all in a relationship with taut. The design was delicate but not believable. Anthony Newfield is
the mLIusic. These choreographers fussy, a lacy gauze defining the acting impresive as Eliot. at once sneering and
emphaticallyv create their work to relate space. subtly lit with pinks. commanding. weak and contemptible.
to their chosen mAusic. The conmpany Within this firmly formed This pertornmance is subtly com

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