★★★★★

“an intoxicating dialogue between history and innovation”

The Coronet Theatre’s first-ever site-specific immersive event, The Belt, is an extraordinary fusion of dance, history, architecture and technology, led by South Korea’s renowned Ambiguous Dance Company. The experience unfolds in two distinct parts, guiding the audience from the dark depths of despair to the heights of imagination and innovation. Set in the Grade II listed, restored and reimagined Victorian Coronet Theatre in Notting Hill, this engaging performance fully uses both its hidden and public spaces.

Part 1 – Past: An Intimate Encounter with History

With no more than fifty audience members, divided into five groups, we are led on an atmospheric journey through the lesser-known spaces of the theatre. From the basement used as an air-raid shelter during World War II through backstage corridors and machine rooms and across its rooftop to the theatre’s distinctive cupola, this phase feels like a private expedition into the heart and soul of the building, mostly lit by candlelight.

Choreographed by Boram Kim and performed by seven dancers (Kyungmin Jang, Hak Lee, SeonHwa Park, SoJeong Im, DeokYong Kim, GyuEun Han and Jisoo Gong), five short dance works unfold in these intimate settings. Each room, transformed for this five-day residency, presents a different mood: unsettling (The Room of Struggle and Despair), joyful (The Room of Communication), playful (The Room of Creation), hypnotic (The Room of Precision) and transcendent (The Room of Identity). The music selection is equally diverse, from disco beats to Ravel’s Bolero and Michael Jackson’s Beat It.

The contrast between the restored Victorian architecture and the contemporary fusion of hip-hop, ballet and acrobatics is captivating. Ambiguous Dance Company’s blend of styles – from sharp, street-inspired movements to fluid, balletic gestures – creates an intoxicating dialogue between history and innovation. The dancers’ costumes, along with the music, set dressing, sound and lighting design, further enhance this dynamic interplay.

Part 2 – Future: A Visionary Spectacle of Technological Innovation

The second part of The Belt shifts to the theatre’s main stage, a liminal space where the past meets the future and where raw human physicality meets cutting-edge technology. Here, the full company, including choreographer Boram Kim, delivers a high-octane performance. While rooted in traditional movement, the choreography embraces a futuristic aesthetic, complemented by pulsating dance music and dynamic lighting. The dancers’ costumes, nodding to fetish wear and cyberpunk, feature a mix of leather, mesh and lace, with some dancers wearing face coverings that blur gender lines and challenge binaries.

The Theatre as a Living Museum

What makes The Belt truly special is how it integrates the Coronet Theatre itself as a central character in the performance. The building’s rich history, quirky aesthetic and architectural features are not merely backdrops; they are woven into the storytelling. As you move through the intimate spaces in Part 1 and experience the explosive action on the main stage in Part 2, you feel the presence of those who have walked these passageways over the past century, making The Belt a must-see for anyone interested in the intersection of dance, history and cultural innovation.

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”

“Life’s but a walking shadow, a poor player that struts and frets his hour upon the stage and then is heard no more.” This line from Shakespeare’s Macbeth captures the fleeting nature of stories. In The Weyard Sisters – The Definitive Sequel to Macbeth, writer/director Helen Alexander attempts to extend the tale, breathing new life into the characters who survived the blood-soaked battlefield of Dunsinane.

Ever wondered what happens next? Alexander offers a glimpse into the aftermath, where power struggles continue and Scottish royal titles remain up for grabs. The focus shifts from the fallen king to the women often side-lined — Lady Macbeth’s resourceful gentlewoman, Agatha (Claire Morrissey), who quickly becomes indispensable to the new ruler, Malcolm (Jonathon Campbell), who remains oddly detached from his role.

At the heart of the story are three women rumoured to be witches—the same ones whose prophecies led to the Macbeths’ tragic actions. Now, they’re front and centre. Portia (Jan Shepherd), the Porter’s daughter, leads the group, supported by Erlynn (Julia Munrow), the housekeeper, and Marlin (Pippa Caddick), the swineherd. Shepherd delivers a lengthy, fourth-wall-breaking comedic monologue that explores their driving purpose, while Caddick’s performance, full of nervous tics and twitches, shines in her interrogation scene. Despite Alexander’s intention to provide a female-centred perspective, the witches, though having some striking moments, feel more symbolic than impactful.

The more engaging parts of the play revolve around the battle-scarred warriors, both physically and emotionally, as they try to find their place in the new order. Bradley Benjamin stands out with a nuanced portrayal of Macduff, capturing the raw anger and emotional vulnerability of a man tormented by the loss of his family.

While billed as darkly funny, the play also incorporates broader humour, particularly through Gordon, Malcolm’s newly appointed and out-of-his-depth servant. Ciaran Corsar’s natural warmth and charm shine as he navigates his new responsibilities with endearing awkwardness.

On the production side, Dana Pinto’s minimalist design, featuring rustic props and white linen sheets to divide the front and backstage, is effective. The lighting design, equally simple, is used to good effect in a flashback sequence, with actors engaging in shadow play to depict past battles. There’s a punk aesthetic to the Celtic costumes, especially for the male characters. The soldiers’ distressed fatigues and kilts contrast with the more refined attire of Malcolm and Macduff, reflecting their higher status. The costumes also subtly explore themes of same-sex relationships, with two guards donning accessories associated with gay iconography, adding an extra layer to the narrative.

Helen Alexander’s ambition to create a definitive sequel to Macbeth is evident, and The Weyard Sisters is intended as the first in a planned trilogy that may eventually address some of the questions it raises. However, the execution in this initial instalment falls short. There’s a lot going on—questions raised but not resolved, themes introduced but not explored, and diversions that lead nowhere. While it’s refreshing to see a play that challenges the audience, this one often feels like it’s trying to do too much without delivering. It helps to brush up on Macbeth, as the play assumes familiarity with the original, and the nods to a broader Shakespearean universe don’t quite compensate for the lack of coherence.

In the end, The Weyard Sisters has its moments and intriguing ideas, but it struggles to find its footing. This ambitious project may have potential, but for now, it feels more like a work in progress than the definitive sequel it aims to be. Much like those fleeting shadows, it won’t linger in the mind.

THE BELT at the Coronet Theatre

★★★★★

“an intoxicating dialogue between history and innovation”

THE BELT at the Coronet Theatre

Reviewed on 11th September 2024

by Ellen Cheshire

Photography courtesy Ambiguous Dance Company

Previously reviewed at this venue:

THE BELT

THE BELT

THE WEYARD SISTERS at Riverside Studios

★★

“has its moments and intriguing ideas, but it struggles to find its footing”