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Yamato - Passion

Yamato – Passion
★★★★★

Peacock Theatre

Yamato - Passion

Yamato – Passion

Peacock Theatre

Reviewed – 12th March 2019

★★★★★

 

“I was pleased to see the women on the huge drums, beating out their passion and zest as strongly as the men”

 

Passion, energy, joy. Passion is a dazzling meditation in sound, movement and power, interspersed with delightful comedic moments.

Yamato was founded in 1993 by Masa Ogawa. The performers live and work together in Nara Prefecture, Japan. Ogawa ‘composes, choreographs and works on the theatrical designs of all the music,’ and his vision is wonderfully brought to life by the virtuosity of the performers. The taiko drums are an important part of traditional Japanese music, and Ogawa takes the traditional into his own compositions, creating compelling and captivating sound and movement. The opening piece used Japanese lanterns, reminding me of strolls through Kyoto and evenings in the quieter parts of Tokyo last year, and when the drumming began it was immediately evident that we were in for something very special.

In addition to the many different sizes of drum, there is music from traditional Japanese flute and samisen, a three stringed lute, mingling with the hypnotic rhythms. The earthy boom of the great drums is the heartbeat of the music, sometimes steady and slow, sometimes racing with breathtaking speed and complexity. At times there is a shamanic quality to the scene, drummers spinning wildly, ecstatic within the pulsing music. Then, while the drums are moved into new positions, there are some wonderful interludes. Without a word being spoken in English the audience is invited to clap rhythms and is drawn into a comedy ‘drum-off’ between performers. I was expecting to be awed by the music; I wasn’t expecting to be laughing my head off!

The drumming is a whole body activity. It feels as though every part of the drummer, body, mind and spirit, is involved in the creation of the beat. The strength and agility of the cast is astounding, and they make is seem effortless, with an intensity of focus and communication between them that pulls the audience into the pulsing energy, and into the joy of exhilarating sound. Above all, we see the drummer’s humanity. The intensely spiritual undercurrent of the drums is created by people that we can relate to; a cast that is clearly totally involved and greatly enjoying every moment of the show. The six men and four women who performed were all superb. And I was pleased to see the women on the huge drums, beating out their passion and zest as strongly as the men, as we all revelled in the community of sound. Do go and see this if you can, before Yamato go off on the rest of their world tour.

 

Reviewed by Katre

Photography by Masa Ogawa 

 


Yamato – Passion

Peacock Theatre until 31st March

 

Previously reviewed at this venue:
Cirque Berserk! | ★★★★ | February 2018
The Snowman | ★★★★★ | November 2018
Tango Fire | ★★★★ | January 2019
Hotel | ★★★★ | February 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Boots

Boots
★★★★

The Bunker

Boots

Boots

The Bunker

Reviewed – 22nd February 2019

★★★★

 

“Sacha Voit and Jessica Butcher have written a very good play. If they were to pare down the problems a bit they could turn it into an excellent one”

 

A line from the show’s publicity is a good introduction to this play. “A funny, heartbreaking adventure through forests, friendship and Femfresh that reveals the loneliness of age and the power of Mother Nature.”

Willow works as a pharmacist, patiently listening to people’s problems and trying to help. Liz, an elderly customer, doesn’t think Willow looks like a pharmacist – she is a young black woman and doesn’t fit the stereotype. But Liz doesn’t fit the old lady stereotype either. She is feisty and funny, keeping her husband in the utility room, walking in the woods smoking and swearing. She is also very good at putting her foot in it. These two very different women talk to the audience and to each other, stripping off the defensive layers they have built up to protect themselves. In the process they discover a shared love for trees. Willow is writing an article and a book about the Wood Wide Web, the underground network of mycorrhizal fungi that link trees underground, allowing them to communicate and share resources. But something in her past makes her afraid in the woods. When Liz persuades her to join a protest against the destruction of the trees to make way for a new superstore, Willow is forced to revisit a terrible memory and to begin the healing process.

Tanya Loretta Dee is funny and moving as Willow; unravelling from the patient pharmacist, with a wry and sometimes hilarious take on her customer’s inability to speak about body parts, to a damaged and vulnerable woman. Nadia Papachronopoulou’s direction and Quang Kien Van’s movement direction give her some nicely stylised physical tropes.

Amanda Boxer’s Liz is engaging, surprising the audience with her quirky eccentricities and swearing. The bad times in her past are revealed straight to the audience without her ever giving way to sympathy seeking. She is very funny, but there is a double layer in the comedy, as humour is a good deflector of sadness.

Papachronopoulou makes good use of Lia Waber’s outstanding set in her direction and allows the two characters to combine naturalism with just the right amount of stylisation. Jack Weir’s lighting design and Chris Drohan’s sound help to tell the story with some lovely atmospheric touches.

Although Boots is a strong production, it does feel as though too many problems have been crammed into the fabric of the play. An hour and fifteen minutes is not really long enough to carry a narrative that includes a dead baby, postnatal depression, racism, ageism, infertility, loneliness, rape, the destruction of nature, incontinence and other ageing related issues. Sacha Voit and Jessica Butcher have written a very good play. If they were to pare down the problems a bit they could turn it into an excellent one.

 

Reviewed by Katre

Photography by  Tim Kelly

 


Boots

The Bunker until 16th March

 

Last ten shows reviewed at this venue:
No One is Coming to Save You | ★★★★ | June 2018
Section 2 | ★★★★ | June 2018
Breathe | ★★★★ | August 2018
Eris | ★★★★ | September 2018
Reboot: Shorts 2 | ★★★★ | October 2018
Semites | ★★★ | October 2018
Chutney | ★★★ | November 2018
The Interpretation of Dreams | ★★★ | November 2018
Sam, The Good Person | ★★★ | January 2019
Welcome To The UK | ★★ | January 2019

 

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