27th Mar 2005
Play Without Words
One of the many things I love about my wife is that she brings culture into my life. I’m generally partial to many forms of higher culture — classical music, theater, dance, arty films, etc. — but I’m rather lazy about seeking out the opportunities to enjoy them and am normally just as ready to check out whatever is playing at the local multiplex or TV.
Hence, my Christmas present has proven to be quite a hit: season tickets to the Brooklyn Academy of Music. A few weeks ago we saw our first show, Laurie Anderson’s new production End of the Moon, which was okay but not great, in my opinion; not as good as a performance we saw of hers in Budapest years ago (the name of which I forget).
But last night’s performance was awesome: Matthew Bourne’s theatrical dance project, Play Without Words. Really terrific. Based on a 1963 film called The Servant about strained class relations in British society as seen through the interactions among a rich young fop, his fiancé and his servants, particularly a resentful manservant.
As the title implies, the plot is told wordlessly through dance in this stage adaptation. One of the more striking elements of the dance piece is the use of three dancers simultaneously inhabiting a single role, so three nearly parallel scenes are playing out on different parts of the stage, as three fops, three butlers and three fiancés enact slightly different interpretations of the same event at the same time. The effect is highly original and totally charming.
Another remarkable strength of the performance is the acting talent of the dancers. It goes without saying that they’re all great dancers (even though I took some pleasure that at least of the men appeared to be carrying a few more pounds around his middle than I do, though I only wish I could dance like he), one does not, however, expect dancers to be so subtly adept at conveying character and emotion in their faces and body language. But they were all really great. The event was as much storytelling as dance. (That said, I did get a bit lost in the second act; I’d wished I’d read this plot summary in advance.)
The accompanying jazz score by Terry Davies and performed by a live ensemble was also great. Went great with the whole ’60s milieu of the piece. I also confess to having been completely seduced by the costumes. I wish it were a big product placement so I knew where to run out and buy those fabulous timeless/retro duds (particularly the short bathrobe and the topcoat and fedora hat).
And speaking of seduced, did I mention how sexy it is! Here’s approximately how sexy: very.
It runs at BAM only through April 3, so if you’re inspired, buy tickets now! (though, juding by the sold-out auditorium last night, you might already be too late)
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