REPERTÓRIO N.1
Porchester Hall
★★★★★
“a riveting performance epitomising precision, presence, and physical intensity”
Black bodies are constantly misread and othered by society. But what happens when the state joins in? Afro-Brazilian artists, Davi Pontes and Wallace Ferreira, unveil the world premiere of ‘Repertório N.1’, a bold and unflinching exploration of Black queer self-expression and the urgent need for self-defence under Bolsonaro’s hostile regime. Featuring full frontal nudity, this ‘stripped back’ performance seizes the narrative, reclaims the gaze and unapologetically celebrates Black bodies as expressions of beauty, strength, and resistance.
‘Repertório N.1’ blurs movement and artistic provocation. Pontes and Ferreira enter wordlessly, wearing nothing but neon pink socks and trainers. They hold our gaze in charged stillness, their naked bodies confronting us with quiet intensity. As the moment settles, they move uncomfortably close to the audience. Another pause. Then a series of statuesque poses begins, initially strong, almost classical shapes giving way to cheekier, more provocative ones. The poses shorten until movement starts to flow. Then bang – a defiant, rhythmic sequence begins, with repeated spiky, stomping motions evoking dancing, kicking, punching. This is interspersed with sudden moments of attack and retreat, periods of rest (including squeezing between audience members for a quick sit down), and communal expression (Pontes flashes a V sign, silently urging us to follow) such that each iteration takes on new meaning. And then just as suddenly as they arrived – they vanish.
Choreographed and performed by Davi Pontes and Wallace Ferreira, the meaning of ‘Repertório N.1’ is shaped as much by lived experience as by intent. In a post-show talk, the artists unpack how gestures carry vastly different connotations depending on context: for example, the V sign in the UK reads as two, peace or a playful photo pose; in Brazil it can signal violent organised crime. The same applies to Black and queer-coded movements, loaded with meaning in one culture but invisible or misread in another. Movement unwittingly becomes a mirror for unconscious bias.
With no soundtrack, the score emerges organically: breath, movement, shoes, sweat, the occasional spectator chuckle. The effect is riveting, drawing every ounce of attention to the performers. The lack of auditory cues paired with sudden shifts in movement keep you guessing about what’s coming next. The ‘silence’ also creates space for introspection, forcing you to sit with your inner narrative and inviting deeper reflection on the Black bodies before you.
Pontes and Ferreira deliver a riveting performance epitomising precision, presence, and physical intensity. Without uttering a word or shifting their neutral facial expressions, they transform their bodies into focal points of self-expression. Moving in and out of unison, they seamlessly embody both unity and isolation. Their relentless, rhythmic stomping builds a hypnotic momentum, striking each movement with unwavering force and stamina. Even within this vast space, they command attention with magnetic presence and absolute control.
Staged in the historic Porchester Hall – once home to London’s drag balls – the setting is both apt and evocative. The stripped back design is striking: two low platforms, complete with onlookers, are flanked on all sides by the rest of the audience seated on red chairs. Red velvet curtains frame a floodlit ballroom complete with chandeliers, conjuring an art gallery or high-fashion runway. The initial statuesque sequences fit this aesthetic perfectly while subverting it through the replacement of cold, white marble with living, breathing Black bodies. The spatial arrangement creates moments of visual exclusion which feel intentional, echoing fragmented access often experienced in Black queer lives. The design doesn’t just frame the performance – it deepens its politics.
‘Repertório N.1’ is raw, hypnotic, confrontational and demands to be witnessed. Don’t miss out.
REPERTÓRIO N.1
Porchester Hall
Reviewed on 18th October 2025
by Hannah Bothelton
Photography by Matheus Freitas
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