Co-created and Performed by Lucy Ireland and Jim Manganello
The sombreness of the affair strikes the moment you walk into the Assembly Roxy, a venue already basking in a more gothic and even macabre glow with its architecture. From the memorial-styled programme, the crushed velvet curtain, to the lilies standing to attention on either side – an accompanying gallery of photographs offers a clear sense of a wake.
Yet, almost immediately, Totentanz channels a lustre of life into the sensitive subject of the grave.
Erupting into the light, still clad in their undertaker's uniform, Lucy Ireland and Jim Manganello put audiences on the back foot, but encourage them to come along on the journey with a striking warmth and wit that belays the surroundings. And an immediate sense of precision, even when played for laughs, accompanies the first attempt at a "totentanz"; German for "the dance of death". The German element of a neo-expressionist form of dance certainly lends credence to the origins of the term – but the endless
Taking numerous cracks at it, Manganello and Ireland are striving for the perfect Totentanz – in an endless pursuit to understand, come to terms with their mortality, or just live with death's eternal presence. Genre is fluid, with each of the five dance sequences offering up a speck of the talents Maganello and Ireland possess. Before we descend into the grave, audiences are invited to join in an ever-evolving feast of scenes, each orchestrated wonderfully to align with the shifting tone from sombre, to melancholy, to a surprise pop and eventual tranquillity. But despite being centric to, and therefore composed of dance sequences – Totentanz values the latter half of its theatrical nature as dance-theatre.
There isn't an element at play which isn't structured to a beautifully nuanced level of collaboration, immersion and balance – a clear philosophy for Shotput Theatre. The pacing is incredible in moments, as Totentanz aligns its tightly orchestrated music, set (magnificently designed by Anna Yates and Emma Jones), costume and brilliant use of lighting to tie everything together. To provide such tight movements of angular limbs and flexible lifts synchronised under all that glitter, constricting suits and mountains of feathers (with amazingly quick-paced costume changes) is strikingly inventive.
It's the closest we may come to death with a smile, as the sensitivity of it all remains respectful, but undeniably archaic, even rebellious, treat from this deeply restorative and original team. Totentanz pulses with movement, funnelling blood through the once-still staging, and captures the brilliance of Shotput Theatre's creative output with gusto, vibrance, and a devilishly enjoyable serving of deathly humour.
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