Happy and effective
Deirdre Tarrant
Happy as Larry, TSB Arena, reviewed by Deirdre Tarrant
THIS high-action, high-colour work began with an intriguing and universal premise that “happiness is our most singular human pursuit” and it is an objective to explore human happiness. Nine performers give their individual take in dance and movement in the pursuit of this elusive state of ‘being’ and succeed in different measure to raise our doubts and assuage our queries.
A range of styles gave nine great dancers the tools for personal vision. The work was a series of solos, strung together to music written by Nick Wales and Bree Van Ryk that was rather predictable and too much the same for such a wide ranging objective.
Each dancer brought their own strengths to their definition/search. The internalised and infectious glee of Ghenoa Gela; the intriguing chalk drawing and taut emotions of Dean Cross; the constant caring and gentleness of Miranda Wheen; the maniacal dream ballerina of a loose-limbed(but not a ballerina)Harriet Ritchie; the surly expression and glorious one-up-manship of Matt Cornell; the joy, elevation and vivacity of Josh Mu; the crazy roller-skating hippie of Lee Wilson and the meticulous Marnie Palomares ultimately connected in a robotic street dance in tight unison.
The set was excellent; has anyone noticed how boxes seem to be the theme of this festival? This box was big, by Adam Gardnir, it spun and spilled and provided a chalk board for both visual and physical prowess. I like dancers who look like real people and Shaun Parker’s ability to stage real personalities with attitude was very effective and satisfying.
The giggling girls were every bit as irritating as the real thing and the show-off style and strutting by the uber-flexible Paul White encapsulated the cocky bravura of youth. I liked Larry a lot with his coloured balloons and the zany crazy edge of his friends, but there was another side always threatening to break through. How happy was Larry? Happiness remains elusive but for an hour we were nearly there.
THIS high-action, high-colour work began with an intriguing and universal premise that “happiness is our most singular human pursuit” and it is an objective to explore human happiness. Nine performers give their individual take in dance and movement in the pursuit of this elusive state of ‘being’ and succeed in different measure to raise our doubts and assuage our queries.
A range of styles gave nine great dancers the tools for personal vision. The work was a series of solos, strung together to music written by Nick Wales and Bree Van Ryk that was rather predictable and too much the same for such a wide ranging objective.
Each dancer brought their own strengths to their definition/search. The internalised and infectious glee of Ghenoa Gela; the intriguing chalk drawing and taut emotions of Dean Cross; the constant caring and gentleness of Miranda Wheen; the maniacal dream ballerina of a loose-limbed(but not a ballerina)Harriet Ritchie; the surly expression and glorious one-up-manship of Matt Cornell; the joy, elevation and vivacity of Josh Mu; the crazy roller-skating hippie of Lee Wilson and the meticulous Marnie Palomares ultimately connected in a robotic street dance in tight unison.
The set was excellent; has anyone noticed how boxes seem to be the theme of this festival? This box was big, by Adam Gardnir, it spun and spilled and provided a chalk board for both visual and physical prowess. I like dancers who look like real people and Shaun Parker’s ability to stage real personalities with attitude was very effective and satisfying.
The giggling girls were every bit as irritating as the real thing and the show-off style and strutting by the uber-flexible Paul White encapsulated the cocky bravura of youth. I liked Larry a lot with his coloured balloons and the zany crazy edge of his friends, but there was another side always threatening to break through. How happy was Larry? Happiness remains elusive but for an hour we were nearly there.
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