There are not enough words in any language to give this piece the praise it deserves, which is why the entire production reminds us that everyone’s first language is more visceral than vocal. Soft silence bookends each chapter of this artistically integral story as Hofesh Shechter builds a masterpiece of imagery that supersedes anything we experience in the ‘real world’ and therefore exist solely in our subconscious. He creates such recognisable liminal spaces that they are universally understood, supported by the sheer strength and buoyancy of the dancers.
Other standout departments include Tom Visser’s lighting design which is a living, breathing entity and as much a part of the cast as any of the humans on stage - it is as if a sensory deprivation space was created for sensory seekers, both decompressing and overwhelming at the same time. The same can be said for the use of curtains (credits to the stage management team and set collaborator Niall Black), hiding and revealing each element of the broken yet circular narrative from us at their will. This staging choice invites us to literally peel back the layers of theatre and the mind - for in this show they are one and the same.
Osnat Kelner’s costume design (or occasionally distinct lack thereof) has a similar effect, allowing us to feel intimate and connected to the performers which is a feat in and of itself given that there are no protagonists of any kind. The ensemble make up various groups and settings, but each manage to mould and maintain a distinct individual personality, forming new and repeated characters over and over again.
Choreographed with the abstract clarity of a Genesis album, each of the playful scenes are equally spontaneous and intricate; it is as if we are watching the creation process live as it happens. After a particularly encompassing sequence which neutralises and sensationalises the body at the same time, you realise just what an honour this is, as everything seems so real - as if there is no acting involved at all, just raw and true emotions.
You cannot, however, call this Theatre of Dreams just one thing - because something with such incredible inertia as this is entirely ineffable, giving everyone in the auditorium the freedom to choose what to take from it. For some this could be deep and powerful messages, and for others it’s simply a satisfying display of synchronised asymmetry.
If there was to be any criticism for this production, it would be that an interval is typically classed as inherently accessible, and we are not granted this pleasure although the run time was almost 90 minutes. The company instead chose to include an interactive dance break about an hour in… which was almost even better. It was euphoric to see both the house lights and audience members rise simultaneously and enjoy each other's company through movement and music.
If there is one show I would recommend to any theatre-goer this year, let it be this one.
This show was reviewed on the 10th October 2024 at the Sadler's Wells Theatre, London. For more information on Hofesh Shechter please visit: Home Page Company - Hofesh Shechter Company
Review written by Katie Anna McConnell
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Photo credit: Tim Visser/Ulrich Geische/ToddMacDonald
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