Review: Michael Clark Company
PUBLISHED: 10:02 11 May 2010 | UPDATED: 16:22 01 July 2010
I came, I saw, I conquered might have been a more accurate, although less modest title for this piece. After the wonderful les ballet c de la b I thought I'd seen the best the festival had to offer. But no.
Norwich Theatre Royal
I came, I saw, I conquered might have been a more accurate, although less modest title for this piece.
After the wonderful les ballets c de la b with its compelling horror vision, I thought I'd seen the best the Festival had to offer. But noClark says that Rock has shaped him individually and as an artist: and to a score of seventies numbers, he went back to explore the beginnings of his creativity.Gone was the bleakness of last year's work.
The opening: SWAMP (to Wire and Bruce Gilbert) had the same sense of industrial materials, of steam lined design and distanced perfection as last time, but there was something new: a joy in the movement inherent in the form. A delight in working together mechanically.
Come, been and gone (the signature dance to the evening) was trippy, mannerist and sexy. The Velvet Underground took over the sound track, and we the audience quietly planed into a meditative state.
A dancing glitter ball, a heroin addict in a body stocking stuck all over with needles, and a harem of floaty veiled pink party goers were some of the pop clowns that flit before our vision.
Last but not least, we revisited Iggy Pop's Mass Production, with the dancing chairs which were such a feature of Clark's last Festival visit. Only this time, in a stroke of his favourite bathos, Clark brought on the chair.
Bowie turned up for Heroes, albeit in giant film form. And last, but not least the essence of creativity itself jumped onto stage in the form of stripy blazered leaping dandies, all set free on a turquoise sky as The Jean Genie blared triumphant.
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