“an impactful piece of theatre that uses a unique perspective”
Italian film director Pier Paolo Pasolini was brutally murdered in 1975, his body beaten and crushed by his own car. The events surrounding his death are still shrouded in mystery; although a perpetrator confessed, they later retracted their statement and the extent of Pasolini’s injuries suggested there were others involved. Ma, directed by Artistic Director of Theatre for the Venice Biennale, Antonio Latella, delves into the politics and art of Pasolini through the perspective of his bereaved mother, portrayed with vivid intensity by Candida Nieri.
The piece is delivered in Italian, and for non-speakers like myself, the necessary subtitles are available on screens or projected onto the back cloth. We are at first presented with Nieri stood in profile, starkly lit, dressed in black and restricted by a pair of enormous shoes. A single tear hangs from the end of her nose, waiting to fall into the handkerchief that she cradles in front of her. It is followed by further tears racing down her face as her body slowly starts to buckle from the undoubted silent pain felt after losing a son. Nieri is the driving force of Ma and delivers a raw and gut wrenching monologue tackling just how to say goodbye.
Pasolini made many enemies for things he said, wrote and portrayed on film. Nieri curses herself for teaching him to speak, read and write, as if she hadn’t, this may have saved him from his untimely death. Ma explores the mother as creator, as much as it questions by how much she is made by her son through his films. Half way through the piece audio excerpts from Pasolini’s films are played as Nieri stares out to the audience. Unhelpfully for non-Italian speakers, only the titles of the films are displayed and so for 10 minutes I was completely lost. Stylistic repetition in the dialogue helps to orient the audience, however, as the piece builds it becomes much harder to understand the content of what is being said, as the subtitles flash through too quickly to read, although the emotion is palpable.
Latella and Nieri have created an impactful piece of theatre that uses a unique perspective of the esteemed director. Even if you know little about Pasolini or even Italian, the passion exhibited by Nieri’s ‘Ma’ can nonetheless be admired.
Reviewed by Amber Woodward
MA
was at Print Room at the Coronet as part of the Coronet International Festival
“Each phrase is carefully considered for how his body moves and how the light falls to accentuate the movement”
When entering the auditorium for Waves, you are greeted by the gentle sounds of a sitar and tabla (a type of classical Indian drum) being played by musicians sat either side of the dimly lit stage. Individual spotlights shine on the musicians, with a third reserved in the centre of the stage for a rope hanging eerily above. The sounds of the instruments reverberate beautifully around the small, circular stalls and a light haze creates a rippling effect as it passes through the lights.
This mystical scene is set for Rasa, performed by aerialist Gisele Edwards. Edwards ascends the rope so nimbly and steadily that at times it looks as if she is being drawn up by some spirit, rather than her own strength. The piece is layered with beautiful extensions and suspensions, but peaks when she starts to writhe erratically at the top of the rope. The drumming becomes increasingly unsettling until Edwards lets go from her inverted position for a death drop, falling to mere inches off the floor. The piece is captivating, with Edwards and her accompanists (Clem Alford, Sitar and Sirishkumar Manji, Tabla) singing and speaking intermittently throughout, to pay homage to India’s philosophy and religion.
The second piece in this evening of new dance, is S/He. Choreographed and performed by Kirill Burlov with Emma Farnell-Watson. It is billed as ‘exploring the ways in which gender roles are shifting and being dismantled’. The first of three distinct sections sees Burlov drag Farnell-Watson, dressed in a corset and hooped skirt, limply onto the stage to what sounded like a 1930s cabaret tune. After spending some time posing her as he pleases, the music flips to a minimal, electronic bass as Farnell-Watson is awakened, only to have Burlov then change into the same clothes as her as if to portray that man and woman are now equal. The choreography felt uninspired and Burlov’s continued hogging of the spotlight jarred with the supposed message of the piece. Things got weirder when the mood switched again, with Farnell-Watson folded in half, face covered by her skirt and kicking her legs around whilst Burlov skipped around the stage. Both dancers are evidently technically talented, unfortunately S/He’s lack of a cohesive theme let them down.
Waves finished with the strongest piece of the night, Duende with Dickson Mbi. Having choreographed, devised the lighting concept and edited the music, Mbi’s connection with the piece is tangible. Each phrase is carefully considered for how his body moves and how the light falls to accentuate the movement; there was a moment when just the sinews in his shoulder rippled to the music. Mbi’s presence commands the stage but can at times be hauntingly tender. Duende is an embodiment of the spirit of dance and Mbi performs it with an intensity that flows right to the tips of his fingers. Duende received the nights only standing ovation which was rightly deserved.
Waves had it’s crests and falls, but the highs were definitely worth the ride.
Reviewed by Amber Woodward
WAVES
is at Print Room at the Coronet until 23rd November as part of the Coronet International Festival
