★★★★

“Caruso is a meticulous performer; each step choreographed with a purpose”

“I remember that day like it was yesterday. I remember being tied up, being unable to speak. I remember how much I hurt trying to escape”.

Maria Caruso’s pre-recorded voice swoops above the stage while below, her lithe figure expresses the sentiment behind those words, alone on a vast stage. It is a moment of bravery that almost eclipses our appreciation of her unique choreography.

“I gave my soul and every ounce of energy to get away. And I was free. Free to become the person I am today… to let the past go and forget what happened. To find the light inside myself”

Although we never learn the detail – what happened to her? – her solo dance performance tells a powerful story. One that is personal to her but that we can interpret in whichever way we feel. The same was said of her previous show, Metamorphosis, of which Incarnation is, if not a sequel, an extension. Like the former, Caruso describes it as “an in-depth retelling of the intimate stories with no words”. Except that there are quite a lot of words in this show. Phrases litter the prologue to the performance as though torn out of a therapist’s thesaurus. We are invited to ‘see’ her story through ‘every fibre of her being’. There are definite moments when we feel we do not need really to be told this, but to let her movement, and Ryan Onestak’s evocative music score unfurl the narrative; along with our own imaginations.

“There is a powerful defiance that fuels the dance routines”

For it is visually quite stunning. It can be argued that Theatre Royal Drury Lane is too vast for this intimate piece, yet Caruso manages to fill the space with her personality. Simplicity is the key, with a minimal set reminiscent of the late Peter Brook’s ‘Empty Space’ school of thought. A lone clothes rail is a lonely backdrop, from which she plucks dresses that each represent a turning point in her life. Downstage, a writing desk is the only prop, at which she writes letters. In fact, the show is a love letter, a begging letter. She writes letters of intent, of pain, of revelation. To whom? A lover? A confidant? She waits for a reply forlornly. When it eventually arrives during the final moments, some of us might have seen its message coming.

But it is the journey that fascinates. Caruso is a meticulous performer; each step choreographed with a purpose. Her talents stretch beyond dance and there is something filmic about the show – the detail, facial expressions and small gestures speak as loudly as the body rolls and arches while her eye is firmly trained on the camera lens. It is a touch distracting and distancing, though, and at times we feel we are the studio audience for a future stream.

Innovative and emotive, we are left in no doubt that this is autobiographical. How much dramatic licence is used is open to question yet there is no denying the courageous honesty as Caruso figuratively and almost literally bares herself. Yet beyond the high-flown metaphors there is something calculated and controlled that belies the tortured soul that is being exorcised.

Nevertheless, we are uplifted. Something profound is taking place. Simultaneously hard to explain but simple in its truth. Caruso is a striking dancer and choreographer, image-maker, storyteller and thought-provoker. There is a powerful defiance that fuels the dance routines. Triumphant and optimistic, even if a touch over-dramatic and indulgent. Sometimes the emotion doesn’t ring true, and the suffering is at odds with the self-adulation; but we are more than willing to be drawn into the conceit. It is ultimately quite beautiful to watch.

THE HISTORY BOYS at the Cambridge Arts Theatre

★★★★

“an enjoyable and important revival of a play that has become a modern classic”

Alan Bennett’s much-loved play celebrates the 20th anniversary of its National Theatre first performance with a new production and a national tour (Director Seán Linnen). The period is firmly established from the outset with walk-in music made up of 1980s bangers – Soft Cell, The Human League, Pet Shop Boys – and we hear more of this throughout the show (Sound Designer Russell Ditchfield).

The set (Grace Smart) is the outside of a grim grey building – Cutlers’ Grammar School for Boys, Sheffield – which when it revolves will let us into a classroom laid out with plain square tables and the ugliest red plastic, stackable chairs.

A line-up of eight boys enters performing rather nicely a close harmony, doo-wop number before breaking into their schoolboy characters. Music is an important part of this production (Musical Director Eamonn O’Dwyer), some of it embedded into the plot, at other times as entr’acte music during scene changes. The onus in the solo numbers falls on the vulnerable, questioning character of Posner (Lewis Cornay). Cornay’s made in heaven harmonies soar above the ensemble and his solo performance of Rodgers & Hart’s ‘Bewitched, Bothered and Bewildered’ is truly beautiful. Not forgetting Yazdan Qafouri as Scripps playing the piano quite brilliantly too.

The plot centres on the differing teaching methods of the nearing-retirement Hector (Simon Rouse) and the newbie Irwin (Bill Milner) as they coach the eight sixth formers towards their Oxbridge entrance exams. But the importance of the play and the main interest lies in the developments of each character. Being teenagers, conversation revolves much around sex and we hear a blow-by-blow account of Dakin’s (Archie Christoph-Allen) conquest of the school secretary. But there is also common knowledge of Hector’s fondness for fondling the private parts of his pupils whilst they ride pillion on his motorbike home from school. Despite this being a period piece, the casual acceptance by the boys that this is acceptable behaviour, makes me extremely uncomfortable. It takes the words of the only female teacher Mrs Lintott (Gillian Bevan) – “a grope is still a grope” – to voice out loud that what Hector is doing is wrong. Bevan’s no-nonsense approach to the role allows us to believe that she alone is the wise one amongst the school staff. The Headmaster best described by Mrs Lintott as “a twat” is played perfectly in this manner by Milo Twomey – approaching Basil Fawlty levels of hysteria when roused.

Two important intimate scenes: Posner looks for solace from Hector and Dakin’s attempt to mislead Irwin lack the necessary poignancy for full effect. It is the schoolboy ensemble that is most impressive – the natural chatter between classes and the laddish hijinks – and Timms (Teddy Hinde) stands out of the crowd with just the right amount of cheek and arrogance. A showstopper number of Stand and Deliver despite a lot of banging, stamping and chair-fighting lacks sufficient punch (Movement Director Chi-San Howard). Amplification of the singing might help.

The biggest laugh of the night comes from Rudge’s (Ned Costello) assertion that “History is just one fucking thing after another” claimed with a down to earthiness that, after nearly three hours on stage, this feels just about right.

This is an enjoyable and important revival of a play that has become a modern classic but at times, the highs don’t quite reach high enough and the emotional parts don’t quite reach deep enough.

Category Archives: Reviews

INCARNATION

★★★★

Theatre Royal Drury Lane

INCARNATION at the Theatre Royal Drury Lane

★★★★

“Caruso is a meticulous performer; each step choreographed with a purpose”

“There is a powerful defiance that fuels the dance routines”

INCARNATION at the Theatre Royal Drury Lane

Reviewed on 2nd October 2024

by Jonathan Evans

Previously reviewed at this venue:

PIPPIN IN CONCERT | ★★★★★ | April 2024

YOUR LIE IN APRIL | ★★★★ | April 2024

WILD ABOUT YOU – A NEW MUSICAL IN CONCERT | ★★★ | March 2024

HANDEL’S MESSIAH: THE LIVE EXPERIENCE | ★★★ | December 2022

INCARNATION

INCARNATION

Click here to see our Recommended Shows page

THE HISTORY BOYS

★★★★

UK Tour

THE HISTORY BOYS at the Cambridge Arts Theatre

★★★★

“an enjoyable and important revival of a play that has become a modern classic”