WHO IS COMING FOR DINNER
BATS Theatre, The Random Stage, 1 Kent Tce, Wellington
16/03/2019 - 18/03/2019
Production Details
Mid summer emotional potluck.
Individuals are meeting, hungry to connect. Carrying different needs, beliefs, experiences and knowledge, yet, with much in common, here they are now: feeding themselves, nourishing and celebrating their state of being or the perception of what they think they are.
The Just Be Collective will present its latest physical theatre/dance piece, Who Is Coming For Dinner, in the 2019 NZ Fringe Festival. Join the emotional potluck!
Now days, everywhere, often we lose the perception of what really matters, and we miss the chance of sharing and connecting. Celebrating life and the present moment is what interests and excites us! Who Is Coming For Dinner is an opportunity for people to gather to experience a connection between each other and what is happening on the stage. Together, we will experiment and push the boundaries. We hope you’ll be our guest!
Everybody has a story, and the world should hear those stories. The mission of THE JUST BE COLLECTIVE is to be a voice for those whose stories too often go unheard.
Under the direction of Veronica Butturini, Who Is Coming For Dinner stars Isabella Austin, Jess Brownell, Ingrid Saker, Eliis Uudeküll, and Rasmus Wessman.
BATS Theatre The Random Stage
16 – 18 March 2019
6:30pm
Full Price $20
Concession Price $15
Addict Cardholder $14
BOOK TICKETS
Accessibility
The Random Stage is fully wheelchair accessible; please contact the BATS Box Office by 4.30pm on the show day if you have accessibility requirements so that the appropriate arrangements can be made. Read more about accessibility at BATS.
Theatre , Physical , Dance-theatre ,
50 mins
At this potluck take what temps you
Review by Francesca Emms 17th Mar 2019
I’m not exactly sure what I’m going to. I have an idea that I’m seeing a physical theatre/dance show about mental illness. I’ve read that one of the aims of the Just Be Collective is to “confront and explore tough issues”. I’m told it’s a potluck.
On the Random Stage at BATS four of the performers smile and welcome us into the space. In the middle of the seating block a fifth performer sits bolt upright and unmoving. There is a moat of empty seats around her, no one is game to sit near her. As the theatre fills, the seats around her are taken and her striking ‘aloneness’ dissipates a little.
The show begins. The first of many courses is a delightful spoken piece about the ‘special of the day’. Performed with energy, charm and humour, it gives a taste of the personalities of the four onstage performers. This leads into a dance/physical theatre section, again performed by the four, who work very well together.
We meet Rasmus who doesn’t want to eat, Isabella who can’t choose what to eat, Jess who has food allergies, and Eliis who loves lemons. Each of them is likeable and entertaining, but it’s Eliis who really stands out, commanding my attention with her animated face and purposeful movements.
Then there is Ingrid. I think of her as The Watcher. She has been watching the other four from the audience. As a spot light hits her, the man beside her jumps. Too quickly she’s on the stage. I wish they’d made more of her presence in the audience.
On stage she is still The Watcher. The others don’t notice her skulking around. Then she starts to dance. Sensual, frenetic, she is living and loving the music (really great music throughout by the way). At first she’s introverted, dancing for herself, dancing like no one’s watching. But now she is being watched. The other four see her now. She opens up to them. But still she is alone, separated from the others by a mirror. Finally, the barrier comes down and Ingrid is one of them. She leads them in a joyous dance game. Watching them enjoying themselves, obviously having such a great time … I wish I could join in!
Various other courses follow. Some more successful than others. One section is absolutely frantic and chaotic. It doesn’t appeal to me. The times when they dance together, in unison, or in canon, are my favourite. Overall the movements are simple but well executed.
I get a little lost in the middle because I’m looking for the mental health struggles and the tough issues. In the programme a note from Veronica, the director, explains that she hopes to find “a comical key to show some deep shit.” They’re nailing the comic part, but apart from the isolation-to-community journey of Ingrid (which is happily resolved by about half way through) I haven’t seen much “deep shit”.
I beat myself up: am I too dumb to understand the dance language, too frivolous to see the suffering? But when I let that go, I find I’m watching a silly, funny, high energy, quirky, playful show. I’m having a great time.
Different audience members, with their different histories and experiences, will react differently, and different parts of the show will resonate. Like a potluck, people will be able to take what temps them. We’re all eating from the same table, but everyone’s plate is different.
I see excitement, play, anticipation, exploration, joy and togetherness.
Perhaps that’s just what I choose to eat at the potluck?
Copyright © in the review belongs to the reviewer
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