Posted by Josie McGraw
19. Mar, 2013
Not a word is spoken as the two protagonists in Flesh and Bone intimately maneuver in harmonious fluidity. Assisted by minimalist music, Kate Denborough and Gerard Van Dyck create a dreamlike environment in their theatrical dance piece as they journey through the theme of gender identity. The androgynous characters playfully explore the idea of role reversal, bringing a dark sense of humour to the stage with comically nude costumes and a consistently changing wardrobe.
Each scene offers a glimpse into their evolving relationship as their physical and mental roles interchange. Props are used in very much the same way; representing the illusion of perception. Through dance the primal need for connection is identified; a humanistic desire to relate, to become one. With every stretch, grasp, pull and push, the rhythmic dance becomes more entrancing – and peppered with a smirk of comedy.
The narrative, albeit light, led the performance to a brilliant end – melding man and woman in a wonderfully theatrical display (involving tomato sauce, of course).
KAGE co-founders, Kate and Gerard, present a beautiful piece with seamless, osmotic movements as a tribute to their 20 year creative collaboration. It’s clear the two performers have an unmistakable connection on stage, inviting the audience into a seemingly natural conversion between two humans – not simply a man and woman.
Flesh and Bone runs until Sunday 24 March 2013. Visit fortyfivedownstairs.com for ticket information and show times.
The Sydney Dance Company pirouettes into Melbourne with a moody double-bill fit for winter.
A feverishly fraternal, in-your-face drama.
Martin McDonagh’s least performed play of his Leenane Trilogy, A Skull in Connemara, is an unnerving display of small town Ireland in this morbid black comedy.