Dance: I Like This
By Amy Macpherson • Nov 26th, 2008 • Section: Performance, ReviewsI Like This
Chunky Move
November 20 – 29, 2008
Entering Chunky Move studios in Southbank for the preview of I Like This, by Antony Hamilton and Byron Perry, viewers are met with an exposed stage with the potential to transform into anything; any situation or scenario. There are four plastic, orange chairs forming a shallow V centre-stage. In front of the chairs there is a stereo system and a power point – cables of various colours run into it. At the back of the space there are two large speakers sitting on the floor.
The performance begins with three dancers sitting in the chairs, looking intently at the audience. They are all wearing rehearsal gear; track pants and T-shirts in different shades of grey. Quirky ‘80s video game-style music blips in the background, and various lights flash in time with the sounds, illuminating the performers differently each time.
It’s exciting, intriguing, attention grabbing – almost hilarious.
The music finishes and the lights steady as Stephanie Lake, whose character is particularly taken by two comically still, blank-faced men sitting across from her, begins an enthusiastic monologue with the opening words: “I like this …”
There is barely any pretext to the work, and it’s hard to catch on initially – as if the audience has entered a conversation midway. As the performance goes on, though, it develops a dialogue and aesthetic of its own, and all the seemingly random and surprising moments are given specific relevance.
This is a dance piece about making a dance piece. Hamilton and Perry demonstrate ways of composing props, lights, dancers and music in a space for visual and humorous effect. The task they have set themselves is to design an environment – the two directors converse at various intervals throughout, as to how best compose the work. The performers also comment. “Why are there no lights? That’s how injuries happen you idiots,” one shouts.
The audience is tossed into a wide variety of situations, the most entertaining being an ‘under the sea’ scene. Here, a blue case is put over a light and dancers wave like seaweed, making bubble noises, in a recognisably funny way. The audience soaked it up.
Light is used to disguise the transition into and out of the many juxtaposing moments, and the shifts can be disarming as they happen at such a fast pace – from a fight scene, to people screaming, jogging on the spot, swinging a light like a lasso. But it works.
I Like This is rooted in humour (speaking with Hamilton after the show, he compared it to stand-up). The two award winning dance directors come to the performance with a wealth of experience, and it shows. The performers are well rehearsed and movements are timed impeccably for optimal comic value. The closer you are to the stage, the better, as subtleties such as facial expressions really add to the piece.
I Like This is also the first work by Next Move, an initiative by major Melbourne contemporary dance company Chunky Move to support the next generation of Australian dance makers – certainly something to keep an eye on. If this witty, dry-humoured, continually surprising show is anything to go by, there’s plenty to look forward to.
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