I’m gonna be honest, I was apprehensive about going to see a show entitled LOVE/LOVE/LOVE/LOVE/LOVE. Coming fresh out of a painful break up, my heart was preparing to be poked and prodded and maybe even flambéed a little bit. 

I am so very glad that as a reviewer I had to go and I couldn’t be a chicken and make up some chicken excuse not to, because this passionate, hilarious, soulful and brilliantly crafted dance work by Tessa Redman (nominated for the Oustanding Solo Performance Award at NZ Fringe 2023) was true medicine for the heart. 

Entering the studio space at Basement Theatre we find Redman in an end-stage space, noodling around and warming up, welcoming the audience. She is framed at the back of the stage by floor-to-ceiling panels of a shiny, reflective material. It has the effect of a mirror which turns this show into more-than-a-solo. It’s a duet between Redman and her different LOVE-filled selves. When the audience is lit, which happens a number of times in the show, her dance becomes a trio – we see ourselves in the background of her experience. The reflections on the panels are softened and blurry, fuzzy at the edges, a constant reminder to me of the expansive effect that love can have on our lens on the world.

This mirror surface, combined with the stunning lighting design by Elekis Poblete-Teirney, is one of my favourite aspects of this show. It is so simple but it does so much. It synergizes beautifully with the dewy, tangy, rhythmic, and at times ritualistic sound design created by Jackie Jenkins. Jenkins’ occasional use of 80s synths alongside rousing electronic and classical themes brings in a subtle and aptly nostalgic feeling. Sound, lighting and visual design are stunningly united: they all seem to emanate from Redman’s captivating stage presence – there is nothing in this show that does not belong in it. When Redman dances we have the joy of not only seeing her clear, expressive, liquid-crystal movement from the front: we also get to see the reflection of her back-body. We get a multi-dimensional experience, emblematic of the thematic depth of this show, shooting well-past tired tropes and cliches about love and into those realms of experience that we genuinely can’t describe with words – that we need dance and dancers for. 

Redman opens the show with a welcome to the audience, acknowledging mana whenua, and introducing herself and her creative team. Her verbal address is both earnest enough to beckon forth our hearts and irreverent enough to tickle our need for parody around a theme that can so easily descend into melodrama if not held skilfully. With this endearing persona as guide, she takes us on a journey through at least eight specific experiences of LOVE, including: “The Love I feel for men who find me attractive” (which incorporated some of the most relatable clowning I have seen in a while) and  “the love I feel for my brother” – which I will not ruin for you by attempting to describe – you just need to see it. 

Aside from Redman’s delightful talent as a comedian, and her wonderfully crafted choreography – growing from seed ideas that evolve while maintaining their integrity, teasing themselves out into extrapolations like watching an organism grow – one of the biggest strengths of this show is that it is full of surprises. So much so that I’m hesitant to say much more! Whether you are down in the dumps about love or wrapped up in the thralls of it – go see this show. If you identify as female or you’ve been conditioned/treated as a female throughout your life — high chance you will feel seen! 

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