Dance Nation: A Provocative and Adrenaline-Driven Dramedy

Dance Nation

Dance Nation Rating

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Brisbane’s West End is pulsating as a capacity crowd converge upon Metro Arts Centre for Dance Nation, the latest offering from THAT Production Company. How apt, in an area known for its vibrant, multicultural and artistic atmosphere, we are treated to such multifaceted and exhilarating production, which deftly fuses theatre and dance into drama and comedy. Dance Nation follows a teenage dance troupe who aim for bright lights and competitive glory, while negotiating the complexities of young friendship, ambition and self-negation – equally embodying hilarity, hope and even some horror in the process.

The plot centres around a group of mostly female 13 years-old dancers, preparing for a big contest – plied with pressure on their path to success and recognition. However, the competition does not start under the bright lights of centre stage; The dancers must first endure their team’s own internal casting and rehearsal process and preparations – balancing personal ambition against loyalty and obligation to others as they vie for a principal part, bearing pangs of guilt and envy respectively from those chosen – and those not, as friendships hang in the balance.

Notable tension arises dancers Amina and Zuzu, who are both friends and competitors within their team, pitted against each other by Dance Teacher, and arguable tormenter, Pat. Dance Teacher Pat’s presence is un-nurturing, and we feel concern for these young girls (and Luke) for the tough, borderline-abusive discipline he imparts on them – and for his unsupervised access to this young, mostly female team – wondering what else he might be capable of or encourage.

 

 

Two of the other girls, Connie and Ashley, experience a more overt experience as targets from misplaced, inappropriate male gaze – from an adult stranger they encounter while awaiting their ride home from practice. While all of these young characters show general bravado, sass and the typical curiosity about sexuality that begins around their age, we watch uneasily how these 13-year-old girls are perceived, rather than protected. We observe Zuzu as her attention is not toward the safer, age-appropriate object of affection – Morgan Francis’s sweet, sincere Luke – toward a far older man who exerts coercive control and manipulation against a group of pre-teens – namely, Dance Teacher Pat, played with conviction by Cameron Hurry.

While touching on darker themes, Dance Nation succeeds by avoiding any gratuity or monotony – and each of the ensemble and supporting dancers bring a dynamic layer to the story. Along with the more dramatic themes, notably exemplified by Jeandra St James, bringing soulful grit and trepidation as Amina, Carla Haynes with calm charisma and dignity as Zuzu, and Thea Roveanu’s contradicting yet truthful blend of vulnerability and aggressive self-protection as Ashlee – there are many hilarious comedic moments, in addition to sincere, affirming and visually stunning ones – which create many of the show’s highlights. Johanna Lyon is a particular standout as Sophia, with superb timing and creative, uninhibited comedic delivery. Aurelie Roque makes her numerous smaller roles big, with instinctive dexterity and playfulness. Jessica Veurman gives a versatile, grounded performance as supportive, quietly assured Maeve, while Janaki Gerard shines with fluid and graceful dance and charming expression as Connie.

All of the performers bring polished energy to an engrossing, balanced script. It takes a lot of preparation to look so effortless, executing creative, complex choreography with seamless energy, in addition to fine delivery of dialogue. The hard work pays off beautifully in Dance Nation, undoubtedly enabled through the efforts of THAT Production Company’s talented Creative Team, led by Director Timothy Wynn. In summary, Dance Nation is a provocative and adrenaline-driven dramedy, where every distinct aspect blends into a textured and highly entertaining whole. The full gamut of human emotion is traversed with humour and unnerving honesty, further punctuated by captivating movement, lighting and sound. Highly recommended.

To book tickets to Dance Nation , please visit https://www.metroarts.com.au/event/dance-nation/.

Photographer: Kenn Santos

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Devilishly Pleasing – The History Of The Devil

The History of the Devil

When looking at titles at Metro Arts this month, The History Of The Devil, presented by Polymorphic Productions, is one that was of immediate interest to any horror lover, especially when seeing the playwright’s name. Clive Barker is a UK-based, iconic horror writer known for his wit, gritty characters and tackling taboo subjects- and this play, performed at the Metro Arts New Benner Theatre, was no exception.

From the outset, the audience was warned of adult themes, including sexual assault, racism and coarse language. The set was of a bare-bones design, as the story, both geographically and historically, time travelled, so the use of lighting and sound created the atmosphere. They took the audience from the UK to Kenya in believable fashions, and although sometimes the sound obscured voices, the strategy was very effective.

The story revolves around the Devil’s desire to return to Heaven, but he must first face a trial for his actions on Earth. Witness the courtroom drama as Judge Popper, defence attorney Sam Kyle, and chief prosecutor Catherine Lamb engage in a high-stakes legal battle over the fate of the Devil.

Outstanding and charismatic performances came from the cast, but especially from Connor Scoble as the Devil himself and Lisa Hickey as Ms Lamb, the passionate lawyer (among other characters). They made this play fast-moving, funny and enjoyable to watch.

With all actors playing at least two roles, this was a complex, moving feast and the transitions were played flawlessly between scenes, with virtually seamless characters and costume changes. It was hard to believe the high skill level on display, given this was the first showing.

I recommend The History Of The Devil to anyone who is open to delving into the darker themes mentioned to get down and see the History of the Devil. This was an excellently staged, witty play, and you’re in expert hands with this cast and crew.

Dates:- 28th Nov – 16th Dec
Duration:- Approximately 170 minutes, including a 20-minute interval.
Age:- Recommended for ages 15+
Session Dates/Times:-

  • Tuesday, 28 Nov 2023, 7:00pm
  • Wednesday, 29 Nov 2023, 7:00pm
  • Thursday, 30 Nov 2023, 7:00pm
  • Friday, 1 Dec 2023, 7:00pm
  • Saturday, 2 Dec 2023, 2:00pm MATINEE
  • Saturday, 2 Dec 2023, 7:00pm
  • Tuesday, 5 Dec 2023, 7:00pm
  • Wednesday, 6 Dec 2023, 7:00pm
  • Thursday, 7 Dec 2023, 7:00pm
  • Friday, 8 Dec 2023, 7:00pm
  • Saturday, 9 Dec 2023, 2:00pm MATINEE
  • Saturday, 9 Dec 2023, 7:00pm
  • Tuesday, 12 Dec 2023, 7:00pm
  • Wednesday, 13 Dec 2023, 7:00pm
  • Thursday, 14 Dec 2023, 7:00pm
  • Friday, 15 Dec 2023, 7:00pm
  • Saturday, 16 Dec 2023, 2:00pm MATINEE
  • Saturday, 16 Dec 2023, 7:00pm

Coarse Language, Horror, Mature and controversial themes, Morbid Humor, Offensive language, References and depictions of Sexual Assault, Religious themes, Themes of trauma, Violence, Haze/smoke effects, Loud Noises, Strobe Lighting Effects, Please note a lockout period applies. Latecomers may be admitted at a suitable break in the performance.

Photography: Emma Stratton dilemmazdigitals@gmail.com

Check out more reviews here at Dark Stories Theatre Reviews to see what else is on in your town.