Birth review at Pleasance Courtyard, Edinburgh – ‘a transporting, time-travelling show
Theatre Re celebrates its 10th anniversary this year. In that time, thanks largely to 2014’s Blind Man’s Song and 2017’s The Nature of Forgetting, Guillaume Pigé’s company has garnered a global reputation for elegant, ethereal mime shows that beautifully blend movement and music.
Birth, the company’s new project, is no different. Jumping back and forth in time, it explores the lives of three women in the same family – a grandmother, mother and granddaughter – over a powerful, pulsating 75 minutes. It’s a saga of births, deaths, marriages and miscarriages that has motherhood at the heart and a neat, touching twist in its tail.
Directed by Pigé and devised with the company (Eygló Belafonte, Vyte Garriga, Claudia Marciano, Charles Sandford, and Andres Velasquez, all of whom move with grace and fluidity), the show swells and subsides like a symphony. Great, billowing blankets are routinely whisked across the stage, obscuring the audience’s view to allow for a quicksilver scene change. Everyday objects – a pair of shoes, a saucepan, a little green book – regularly disappear and return, familiar motifs in a family story.
It all syncs up with a plaintive, piano-based score, as well, which Alex Judd provides live at the front of the stage. A transporting, time-travelling show.
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