OVADA Stammtisch presents An evening with… John Cage, Erik Satie and Oxford Improvisers 24th April 2014

A chance to see one of Oxford’s most engaging and idiosyncratic dancers, Flavia Coube, in an evening hommage to two composers who have challenged, inspired and influenced numerous choreographers…  OVADA Stammtisch presents An evening with… John Cage, Erik Satie and Oxford Improvisers this week at the OVADA Gallery.  Oxford Improvisers write:  “It being neither the centenary of Erik Satie nor John Cage (nor of any calendrical significance to either), Oxford Improvisers are celebrating the work of two of the most iconoclastic composers of the twentieth century with an evening of entertainment featuring members of the collective as well as guest dancers, visual artists and the virtual presence of Satie and Cage in film and verbal recording.”

 

Diamond Night 11 at Brookes Studio Theatre 1st June 2013 – Ana Barbour reports

Saturday June 1st was the eleventh in Cafe Reason’s series of Diamond Nights.  Conceived as a platform to share and show experiments and new work it continues to offer the chance to see interesting and experimental pieces in a small theatrical environment.

The evening began with Fabrizia Verrechia performing three pieces of Indian Classical Bharatanatyam dance.  Besides the beautiful, expressive dancing and lovely costume, Fabrizia introduced the audience to a little background information about this traditional form and also some of the meanings of the gestures.  This was interesting in itself and reminded me of the difference there can be in fully appreciating a classical dance form such as ballet and the means used to tell a story compared to a contemporary work. 

 

Diamond Nights 28th January 2012

Diamond Nights at Brookes Studio Theatre 28^th January 2012 – Susie Crow writes:

The seventh edition of Café Reason’s regular “Diamond Nights” was an intimate evening of poetic experiments in theatricality.  Introduced by Ana Barbour and lit by Pete Green, the performance began with Ayala Kingsley’s Trunk.  In near darkness assistants drew aside a black velvet curtain to reveal a trunk which began to creak and twitch, its lid tentatively ajar to reveal slivers of torchlight; then streams of bubbles, followed by two grey clad hands as exploring creatures.  Gradually the trunk opened to reveal Ayala as an enigmatic siren bathing and ultimately paddling off on a sea of fabric with her bath-brush… a succession of winning images worth developing.

Flavia Coube’s solo Child juxtaposed her insightful portrayal of childishness with a haunting song by Joanna Nielson which gave an edge of darkness.   In a baggy dress with oversized checks, and hair held by an unruly pink bow Flavia’s comical persona was communicated through wide eyes and ungainly limbs.  Admirable articulation in the fluid and expressive detail of every part of body and face gave this solo clarity and touching authenticity.

A powerful opening to Ségolène Tarte’s Splice as her shadowy figure found its agitated way to a central hanging rope and pool of light.  This work in progress has expanded since previous performances, building its emotional resonance as Ségolène has developed a vulnerable and shifting relationship with the rope, almost lending it life and a character of its own.  She is finding a personal dance language which integrates her balletic grace and vocabulary with strongly defined expressive movement.

Cellist Bruno Guastalla and Macarena Ortuzar continued their fruitful collaboration with Slate.  Sophisticated software allowed the live and recorded cello to be fragmented and randomly fed back and layered, creating an atmospheric sound world into which Macarena crept down the stairs.  Bent back with a layer of skirt over her head, she felt her way into the space with tremulous fingers.  At times she seemed headless, I lost the sense of which was her body’s back and front.  Once fully revealed the image conveyed by her demure cream frock was subverted with movement of delicacy and anguished grotesquerie, suggesting deep and painful stories.

Dariusz Dziala’s video short Cabbage was a lighthearted and surreal collage of images set to a Polish folk song, dazzling in its witty unpredictable invention and inclusion of dance footage both historic and of Café Reason dancers.  Here was editor as choreographer, making surprising combinations of literal and abstracted images dance.

Finally A Walk, a structured group improvisation by Jeannie Donald McKim, Fabrizia Verrechia, Flavia, Ségolène and Ayala with Bruno on cello and singer Janna Ferrett, triggered by Ivor Cutler’s Life in a Scotch Sitting Room, with playful interaction and exchange of a variety of hats.  Hats off to the Café Reason team this evening for conjuring up such arresting dream worlds…