SONG OF SONGS Sonia Hughes . . . touring.
Manchester/Tour.
SONG OF SONGS
by Sonia Hughes.
Weeding Cane, Contact and Nuffield Theatre at the Contact (Manchester) Until 21 Feb.
Wed - Sat 8pm & Mat Sat 2pm. Suitable ages 16+.
BSL Interpreted 20 Feb.
Workshops prior to every show 6.30pm or 12.30pm (mat). Participants may take part in the subsequent show (no experience necessary).
Tours to Lancaster (Nuffield), Coventry (Warwick Arts Centre) & London (Albany) – full details below.
Runs: 1hr 40min - no interval.
TICKETS: 0161 274 0600.
www.contact-theatre.org.
Review: Stoon 11 February 2009.
There are 3 types of theatre - The Good, The Bad…and on a really sexy night…The Unmissable.
Unique and warmly engaging, this wonderful production generates ultimate polarity within as you reel from almost hedonistic pleasure at the humorous interludes to momentary feelings of eerie sadness as loneliness and lost love are laid bare – the pain in removing Cupid’s Arrow is infinitely more than when it enters…and arguably has much more comic potential! These tonal mood swings mirror the two extremes that Solomon sought to combat in his Old Testament book (Song of Songs), from which this piece takes its name – that book extols the virtues of love between a husband and his wife
“Place me like a seal over your heart, like a seal on your arm; for love is as strong as death, its jealousy unyielding as the grave. It burns like blazing fire, like a mighty flame. Many waters cannot quench love; rivers cannot wash it away. If one were to give all the wealth of his house for love, it would be utterly scorned.” (8:6-7)
To describe this in detail is to attempt the impossible…even the audience seating arrangements are integral. The opening scene with the first dance is as good as you’ll see and features Vicki Amedume effortlessly scaling a tissu along with the other 3 cast members below. The four together share a real physical chemistry which allows them to as a whole to collectively encompass the female in all its forms, their individual credibility too lends authenticity.
Later highlights include Lowri Evans’ female guide to ‘what not to wear’ - she’s a (self-styled!) stylist after all – her gradual descent into neurosis is measured to perfection. Not be out done, Carmel McCourt explains the pleasures of late motherhood in her own version of ‘Horrible Histories’ and Vicki Amedume’s tips on ‘first date’ dressing and etiquette are equally priceless – as is her poem entitled “I ‘Love you as…”, performed to another, almost sensually breathtaking, tissu routine. Which leaves Juliet Ellis, who as well as acting as MC for the night, recites her poem, while seated, with beautiful poignancy.
There are balloons, audience confessions, fairy cakes, a guide to effective crying…and Cava (credit crunch!) for the 9 female guests at The Top Table who are present throughout – these volunteers have only had 90 mins rehearsal before the start and provide a memorable chorus at the finale as well as constant visual interest. For me, the piece had a flavor of the current film ‘Revolutionary Road’.
Throughout, the male is ignored, even positively excluded, but don’t worry boys, there’s a certain smugness gained, aloofness even, to watching the fairer(?) sex screw things up so big style!
There are flat spots, lost continuity between scenes and some pruning is required to the run time but taken as a whole this is outstanding, brave and very much theatre of our time which will no doubt prompt many post show discussions. I hope to return later in the run.
Vicki Amedume.
Juliet Ellis.
Lowri Evans.
Carmel McCourt.
Directors: Sonia Hughes & Jane Mason.
Designer: Simon Banham.
Lighting: Mark Distin.
Composer: Carmel McCourt.
Choreographer: Jane Mason.
Company Stage Manager: Rachel Garrett.
2009-02-16 19:30:49