Performance Review: Take five and find out a little!

That’s the voice. Booming. Majestic. Can’t see him, but he’s everywhere. Italian name, somehow known. He’s going a long way, that child.

The dancers come and go. Enough, metaphorically – it’s a tough business – but literally tonight, down a flight of stairs from the left.

Splits and repeated swirls from men, high kicks and delicious curls from the ladies. But there may be too many elevators and not enough gravel.

It’s like an MGM movie about gangsters and their malls: if only something would shock the blazers and dresses on the expensive seats, but it’s way too disinfected, just like the world these songs would make us believe existed.

Rare highlights
Sure, the voice is everything … but that’s the show’s biggest limitation. Dancing to the familiar lyrics is too safe, as if they are just bouncing along. The orchestra stays on track, and so do the dancers.

Only instruments allow them to breathe. The first half has one, the second half three, you do the math.

Take Five instrumental midway through the second half is a highlight – just as it is a product of a genuine collaboration between orchestra and dancers.

Percussion informs their steps, as if they are dancing to the beat, and the musicians are feeding their energy. It’s the only time music can legitimately be described as jazz.

Limited synchronicity
Camilla Ruelykke Holst and Benjamin Buza steal the show when the girl at the west end meets east boy.

Not only do they simmer together, but they evolve and bring credibility and narrative to their story.

You almost mess with them: she’s snooty, he’s melancholy, but something clicks. Holst appears in the second act sexy as hell, while Buza cultivates a masculinity that is lacking with the other dancers.

But really, it’s a cast of too many that offers limited synchronicity.

Idi Amin got less deserved ovations than this.

Source: The Nordic Page


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