Act One

Published Monday 3 March 2008 at 11:10 by Katie Colombus

The concept for Test Run is simple and the performance simply staged. One dancer and two live musicians want to see what it’s like when no other dancers get in the way and investigate how the music affects the movement.

The performer’s dry, witty banter gives us an introduction to the piece before Janus Orlik takes centre stage in a white square, while the musicians strike up their plucking, breathing into a microphone and singing single notes.

Slowly, the musicians start to compete and as Orlik is caught in their crossfire his body reacts accordingly - compulsively, striving for dominance, or getting lost in the ebb and flow of the rhythms as they emerge. As the musicians fight for dominance over the proceedings, he too tries to claim power over the stage.

Whilst an interesting idea, the spontaneity of the movement is spoiled as it is almost too choreographed - Orlik looks for his next lead rather than letting the movement happen naturally.

Look At Me Now Mummy sees a woman entangled in domestic chaos. The stage is awash with flour, cooking utensils, balloons and clothes. Aurora Lubos, dressed in underwear and a silk dressing gown is unhinged - slightly manic, but mostly sobbing and traumatised. The piece details one woman’s struggle to throw a successful post-baby dinner party - balloons and all. But her crying new-born - symbolised by a ladle wrapped in kitchen paper - gets in the way and is swiftly popped in the microwave to keep control of the situation. Such antics have some of the audience in cahoots and some trying to work out the humour. Mostly though, it is neither funny nor dark enough to claim itself as a relevant portrayal of post-natal depression and as such loses the premise for the work amidst splashing water, popped balloons and incoherent wailing.