Tag Archives: Arunima Kumar

Fairy Tales
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Lilian Baylis Studios

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Fairy Tales

Fairy Tales

Lilian Baylis Studio

Reviewed – 27th June 2019

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“There is absolutely no need to consider Fairy Tales in a category of its own – it is fully-fledged dance by gifted dancers”

 

The power of the arts has always been a rich source of self-expression, enjoyment and emotional release; we can all discover an inner voice, hidden talents or absorbing satisfaction. As the younger sister of an autistic brother, Rashmi Becker realised, early in life, the benefits of dance for disabled people to improve communication, coordination and reduce anxiety. Passionate about dance herself, she lent immense support and energy to promoting inclusive activities before setting up Step Change Studios in 2018. This project gives everyone, regardless of age or ability, the opportunity to find pleasure and achievement in courses, workshops and developing performances that showcase the all-embracing possibilities of their work. After last year’s β€˜Strictly’-inspired β€˜Fusion’, Step Change has stretched both imagination and talent with their new show, β€˜Fairy Tales’. Born within a collection of popular tales from around the world, creatives and dancers conjure up a varied yet harmonious collage of narrative, characters and ambiences.

After a mood-setting welcome read by Chanaye Armorer Dumbuya-Johnson, whose mother is a cast member, we are swept into the secret fairyland of the twelve dancing princesses with the grace and charm of Adrienne Armorer, Abigail Brown, Clair Gleave, Laura Jones and Freya Spencer. And their spell continues to enchant, soothe and captivate. In solo numbers, Romano Solano’s exquisite fluidity of movement and Pawel KarpiΕ„ski’s bold command of the stage convey ideas of beauty and self-esteem from The Ugly Duckling and Anastasia’s nostalgic mood. Against a background of blue sky and white clouds, Laura Jones and Lauren Russell glide and float as free spirits while Rashmi Becker joins Romano Solano in a magical, sparkling take on Sleeping Beauty and Anna Alvarez creates and interprets a powerful and beautifully integrated duo with Sander Verbeek as they tell the Inca tale of β€˜The Skeleton Woman’.

Particularly moving is the sincerity of Clair Greave and Andrew Self’s care and affection as they glide and spin to Someone to Watch Over Me. Adding a nightmarish note, Pawel KarpiΕ„ski, Joshua Moore, Romano Solano and Sander Verbeek show physical versatility and artistic flair in a dynamic Red Riding Hood and it is impossible to resist the foot-tapping fun and energy as Kat Ball, Abigail Brown, Natasha Julien and Freya Spencer take to the floor to bring The Red Shoes to life. Closing the evening, Lauren Russell blends with the skilful elegance of classical Indian Kuchipudi dancers, Pragnya Dara, Arunima Kumar, Bhagya Lakshmi and Sravani Vootukur in a celebration of Vishnu and his tale of renewal and hope.

There is absolutely no need to consider Fairy Tales in a category of its own – it is fully-fledged dance by gifted dancers. The cleverly picked story fragments matched with perfectly-chosen music, the sensitive choreography and artistic expertise combine to shine in an entertainment which stirs a flood of emotions.

 

Reviewed by Joanna Hetherington

 


Fairy Tales

Lilian Baylis Studio

 

Previously reviewed at this venue:
Dystopian Dream | β˜…β˜…β˜…β˜…β˜… | November 2018
Layla and Majnun | β˜…β˜…β˜…Β½ | November 2018
Tom | β˜…β˜…β˜…β˜… | November 2018
Swan Lake | β˜…β˜…β˜…β˜…β˜… | December 2018
Bon Voyage, Bob | β˜…β˜…Β½ | February 2019
The Thread | β˜…β˜…Β½ | March 2019
Mitten Wir Im Leben Sind/Bach6Cellosuiten | β˜…β˜…β˜…β˜…β˜… | April 2019
Rite Of Spring | β˜…β˜…β˜…β˜…β˜… | May 2019
Constellations | β˜…β˜… | June 2019
Elixir Extracts Festival: Company Of Elders | β˜…β˜…β˜…β˜…β˜… | June 2019

 

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Gauhar Jaan – The Datia Incident – 4 Stars

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Gauhar

Gauhar Jaan – The Datia Incident

Omnibus Theatre

Reviewed – 13th April 2018

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“combining vivid metaphors, playful modern language and perfectly defined characters”

 

β€˜The Datia Incident’ not only describes a significant event in the vibrant life of Gauhar Jaan, India’s first recording star, but also conjures up a flavour of the life at that time. For all her success as an Indian courtesan, she was born Angelina Yeoward of Jewish Armenian parents and it was her mother who, after divorcing, embraced Islam and took the name Malak Jaan, giving her daughter the name Gauhar. They both trained in music and dance and Gauhar became courtesan for the Maharaja of Darbhanga at the age of fourteen. The play takes place in 1902 when she begins recording for the British Gramophone Company and when the infamous incident occurs. Fred Gaisberg is travelling across the country in search of the sounds of the East and is determined to record this acclaimed singer, also renowned for her ostentatious life-style.

Tarun Jasani’s beautiful writing lures us into this world of contrasts, combining vivid metaphors, playful modern language and perfectly defined characters and creates an elaborate work from a simple story embroidered in the minds of its tellers. He builds up an increasing sense of anticipation and fascination with the vocal fame of Gauhar Jaan which, losing ourselves in the complexities of the tale, we are regularly reminded of by the frustration of Gaisberg. Director, Mukul Ahmed, generates an evocatively composed and unhurried pace, accentuating the lack of urgency in these lives of luxury. Yet it is full of humour and pathos. The set (Sophie Jump) cleverly makes use of the full length of the theatre space as the Maharaja holds court at one end and normal life goes on at the other. The lighting (Paul Micah) artfully recreates the ambiance of the Indian setting and the sound (also Tarun Jasani) perfectly transports one to these faraway places. Traditional dancers bring a further element of opulence to the Maharaja’s court and adds greatly to the audience’s experience.

Sheetal Kapoor gives a powerful performance as Gauhar Jaan, exuding her indomitable self-importance with assertive control. The seemingly simple-minded Maharaja is charmingly played by Harmage Singh Kalirai, his true strength becoming apparent when confronted with a real fight and Devesh Kishore is excellent as his long-suffering servant, Bakshi Saheb, effectuating sympathy in his frustration to help his master and in his own fruitless situation. There is a wonderful portrayal by Jas Steven Singh of three astutely shaped individuals – three aspects of Indian society – who interact with Jordon Kemp’s elegantly enthusiastic Fred Gaisberg in inspired illustrations of the incompatibility of cultures.

β€˜Gauhar Jaan – The Datia Incident’ is exemplary of a skilfully crafted script which develops a storyline from a simple idea and, through the imagery of its language, the intertwining of dialogue and the bold, balanced, well-acted personalities, successfully brings to life a rich and enlightening piece of theatre.

 

Reviewed by Joanna Hetherington

 

Omnibus Theatre

Gauhar Jaan – The Datia Incident

Omnibus Theatre until 29th April

 

 

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