★★★

“Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm.”

Self, Life, Writing. The essence of the word Autobiography and a reflection of how Wayne McGregor sees the world, breaking it down to its core components. Autobiography was first performed in 2017 to celebrate the 25th anniversary of Company Wayne McGregor. Conceived in collaboration with the dancers of the company, and inspired by the experiences, influences and ephemera of McGregor’s life, the structure of the piece is then left up to the power of ‘the algorithm’, of which more later. Now some five years or so since it was first performed, in the company’s 30th year, it’s back on stage at Sadler’s Wells, albeit in a slightly different formation.

Chapters of self contained meaning are numbered but performed out of sequence. Only chapters 1 and 23 are positioned at the same point in each performance – at the opening and closing. The significance of 23 is in its relation to the number of pairs of chromosomes in DNA, one of the most basic units of human existence. Serendipitously, 23 is also the age Wayne was when he started the company, adding a further autobiographical significance to the piece. The order in which each audience will experience the chapters is determined by an “algorithm based on McGregor’s genetic code”, dramaturg Uzma Hameed tells us in the programme. This algorithm may also select which dancers take on which roles. The ambitions are lofty and likely technically complex – but altogether opaque and probably unnecessary. A random number generator to choose the sequence would likely do the same job as an algorithm based on the sequencing of McGregor’s DNA.

And in terms of the substance of the performance – it wasn’t easy to like. In fact part way through I wondered whether the choice not to have an interval was to stop people leaving the auditorium never to return.

Now don’t get me wrong – I am always down for a bit of techno music and don’t believe dance should always be aesthetically harmonious. But some of the pieces were really challenging to endure. This was largely due to the, at times deafening, soundtrack by Jlin. Her roots in America’s rust belt are abundantly clear from the pulsating bass and breakbeats, reflecting McGregor’s choreographic style. When more melodic, there are real moments of beauty. But at the point high-pitched screams overlaid the bassline the soundtrack really wore thin.

It wasn’t always saved by the choreography. All solos, duets and trios were interesting and pleasant to watch, notwithstanding the oppressive soundtrack. But some of the pieces featuring the full company lacked cohesion. One piece in particular early on in v95 (likely to appear at a different point in other versions) lacked any unifying motif whatsoever. It appeared like an audition room with each dancer attempting to show their best moves and catch the attention of the casting director. Maybe this was the intention, given the autobiographical nature of the piece, but it felt too simplistic an interpretation for McGregor.

Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm. Only two of the original cast are still part of the company and they are easy to spot. The maturity is evident in Rebecca Bassett-Graham, not just from her fiercely cropped shock of white blonde hair but also from the strength and power portrayed in her movement. There’s also Jordan James Bridge, whose distinctive style stands out in a solo moment. The majority of the company are fresh talent – with just over half having joined in 2023 and all delivering stand out moments. Jasiah Marshall has a particular presence – opening the performance dominating the starkly designed and lit stage (Ben Cullen Williams and Lucy Carter) with broken lines and a chest so puffed it too looked like it might snap.

Autobiography might not be the most enjoyable watch. But as a capsule of the core elements of Wayne McGregor’s practice: a fascination with science and technology; a collaborative approach with his dancers; and a disciplined minimalism to choreography, costume and set, it’s an ambitious yet not self indulgent project.

GUYS & DOLLS at the Bridge Theatre

★★★★★

“a captivating, energetic show that you’d bet on to run and run.”

The Bridge Theatre’s production of Guys and Dolls opened a year ago to rave reviews and now a new cast continues the party. This show really does feel like a knees up: my cheeks were aching by the interval and even I was persuaded to join in with a celebratory wiggle during the finale. Even if you have never seen this 1950 musical before, the immersive experience draws you into a world of gamblers, showgirls and fervent missionaries, and you will leave humming the excellent songs.

Part of what draws the audience in is the Bridge Theatre set (Bunny Christie), which includes seating on four sides of an immersive area which you can roam around with a standing ticket. Before the start of the show, the central area is laid out like a street map, vendors sell real hot dogs and pretzels from stands to the audience, and the ensemble circulate puffing on stage cigarettes. Bright neon and coloured bulbs (lighting design Paule Constable) decorate hanging signs that transport you to a busy Broadway, New York with the attention to detail on the road markings and sewer covers apparent up close. The immersive audience is encouraged to sit at diner tables and interact with the ensemble as the bustle increases. Given the geography of the room, the orchestra is not in a pit: it is elevated to the gallery, and flanked with more of the garish bulbs which shows off the pink glittery music stands and snazzy audience jackets. This is a show that’s not afraid to show how it operates, but that only adds to the magic.

And what magic. Especially when standing, the action is happening literally centimetres away. The acting therefore must be – and is – flawless. Emotions have to be portrayed both small and large for the audiences closer and those further away. Dancing (Arlene Phillips with James Cousins) from the talented supporting actors is super sharp. I loved the rowdy carrot routine from the showgirls in the Hot Box club. The gamblers in the crap game routines are totally committed even on narrow stage blocks, and the hat-ography is impressive.

Guys and Dolls is known for being the epitome of the comic musical, and the jokes here are mined expertly by the able cast. There is great physicality throughout from all characters, especially the anchor of the piece, Owain Arthur as Nathan Detroit. Timmika Ramsay also has perfect comic timing as Miss Adelaide, the aspiring wife and showgirl, intent on reforming her fiance. Ramsay is wonderful in the role; her voice is powerful and rich, even when singing sitting down, and with a cold!

“This refreshed cast does their material justice, and then some”

As a foil to this couple, Celinde Schoenmaker is excellent as the uptight Sarah, leader of the Mission for Lost Souls. She has an incredibly easy high register, and is able to inject character into her songs as well as excellent vocals. Watching her lose all abandon in Havana is a sight to behold – very reminiscent of having one too many drinks at a wedding. George Ioannides completes the quad at the centre of the story, again excellent vocally. He embodies the smoothness of a professional gambler, but with enough heart that his love story makes sense.

The supporting cast were also excellent, especially Jonathan Andrew Hume as Nicely Nicely Johnson. He leads the rollicking number Sit Down, You’re Rocking the Boat which is the biggest song and rightly gets multiple reprises.

As in previous immersive shows at the Bridge, blocks rise and fall through different scenes and all these potential hazards are well shepherded by stage hands dressed as cops. They get a well-deserved ovation for calmly co-ordinating the standing audience through the piece, as well as managing props and creating runways to the stage blocks for actors. Even watching the stage hands’ work up close doesn’t break the focus: it’s not often that you get to feel like you’re standing in the wings.

Nicholas Hytner’s strong direction combined with the amazing set and choreography bring out the very best of Damon Runyon’s characters and Frank Loesser’s much-loved music and lyrics. This refreshed cast does their material justice, and then some. In fact, Guys and Dolls could only be improved by serving up every audience member a mid-show dulce de leche, but in every other way, this is a captivating, energetic show that you’d bet on to run and run.

AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

★★★

“Autobiography’s saviours are its dancers who are technically talented with unmitigated enthusiasm.”

AUTOBIOGRAPHY (V95 & V96) at Sadler’s Wells Theatre

Reviewed on 12th March 2024

by Amber Woodward

Photography by Andrej Uspenski

Previously reviewed at this venue:

AUTOBIOGRAPHY

AUTOBIOGRAPHY

GUYS & DOLLS at the Bridge Theatre

★★★★★

“a captivating, energetic show that you’d bet on to run and run.”

“This refreshed cast does their material justice, and then some”

GUYS & DOLLS at the Bridge Theatre

Reviewed on 11th March 2024

by Rosie Thomas

Photography by Manuel Harlan

More five-star reviews:

GUYS & DOLLS

GUYS & DOLLS