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

★★★

“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.

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:

NELKEN | ★★★★★ | February 2024

LOVETRAIN2020 | ★★★★ | November 2023

ALVIN AILEY AMERICAN DANCE THEATER AT 65 | ★★★★★ | September 2023

DANCE ME | ★★★★★ | February 2023

BREAKIN’ CONVENTION 2021 | ★★★★★ | July 2021

WILD CARD | ★★★★ | June 2021

OVERFLOW | ★★★★★ | May 2021

REUNION | ★★★★★ | May 2021

AUTOBIOGRAPHY

Click here to see our Recommended Shows page

★★★★

“we are swept along by the sheer feelgood factor built into the show, and the absolute precision and fluidity of this all-singing, all-dancing cast”

Based on the novel by Bradford Ropes, and the 1933 film of the same name, “42nd Street” is a Jukebox musical of sorts. There were barely five songs in the film, so the show ransacks composer Harry Warren’s and lyricist Al Dubin’s stockpile of numbers they had written for other films at around the same time. Whilst this is a bonus, there are moments when it appears obvious that these musical numbers were not written for this show, and they feel shoehorned into Michael Stewart’s and Mark Bramble’s whimsical and high-spirited script. But this is easily forgiven as we are swept along by the sheer feelgood factor built into the show, and the absolute precision and fluidity of this all-singing, all-dancing cast.

The show focuses on the efforts of celebrated but tough director Julian Marsh to mount the ‘greatest musical on Broadway’ during the Great Depression. He needs a hit and he needs the money, so he hires fading diva, Dorothy Brock, because of the investment pouring from her sugar-daddy. Meanwhile, out-of-town Peggy gate-crashes the auditions stealing hearts, and then the spotlight. An accident takes Dorothy out of the show and the rest is beautifully predictable and heart-warmingly uplifting.

The defining moment of the plot, just before Peggy steps in to save the show, occurs just before interval when the director cancels the performance and urges the audience to collect their refund at box office. A clever theatrical device that sets up the second act; but one that also reflects this particular production. Stylistically it is a show of two halves. Initially the pace is a touch laboured, lacking the light-hearted approach needed to do justice to the throwaway comedy of the dialogue. There are sparks, but the fire doesn’t quite catch. But, boy, the second act comes into its own, as do the cast. “42nd Street” depicts a bygone era, before reality celebrity and social media, when talent was what made a star. And Katie and John Plews have assembled a star-studded team. Each a triple-threat, they work together as a synchronised unit with barely a foot or a note out of place. Simon Adkins’ choreography could easily quickstep down Highgate Hill into the West End.

The show belongs to them all, the ensemble and principals alike. Kate-Anne Fenton’s Peggy is a light under a bushel, humble yet unafraid to be coaxed into living her dream. She is well complemented by the heartthrob voice and looks of Rory Shafford as Billy Lawlor. Tamsin Dowsett pitches just right the understated hamminess of Dorothy Brock, whose broken ankle fractures her career but heals her broken heart. Pulling the strings, though, is Alex Wadham’s commanding performance as the tough yet tender Julian Marsh. Still, the generosity of the leading players leaves the doors wide open for the minor characters to steal any scene they can. Charlie Burt is a ball of energy who lights up the stage, eclipsed only by the dynamic chorus trio of Helen Rose, Jessica Wright and Samantha Noël; their close-knit harmonies strikingly evocative of the period. An age brought even closer to us by Emily Bestow’s razzmatazz fashion parade of costume, and the array of well-known and well-loved showtunes, including ‘Lullaby of Broadway’, ‘We’re In The Money’, ‘Dames’, ‘I Only Have Eyes For You’ and the eponymous ‘42nd Street’.

A little slow off the starting line, we forget by the time we’ve reached the rousing and moving finale. And the show is only at the beginning of its run. Like Marsh says to the blossoming Peggy as she’s seconds out from her Broadway debut; “You’re going out a youngster, but you gotta come back a star”, this show will undoubtedly grow into a sure-fire hit.

Reviewed by Jonathan Evans

Photography by Darren Bell

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

Upstairs at the Gatehouse

Reviewed – 13th December 2019

★★★★

“we are swept along by the sheer feelgood factor built into the show, and the absolute precision and fluidity of this all-singing, all-dancing cast”

Reviewed by Jonathan Evans

Photography by Darren Bell

42nd Street

Upstairs at the Gatehouse until 26th January

Last ten shows reviewed at this venue: