Simone Mousset: The Passion of Andrea 2 at Touch Wood

Simone Mousset, The Passion of Andrea 2, Touch Wood, September 6

Luke Divall, Lewys Holt and Mathis Kleinschnittger in rehearsal (photo: Simone Mousset)

Masquerading under a working title, The Passion of Andrea 2 ‘claims to be a second version of a piece from many, many years ago inspired by feelings of insecurity and confusion in a world of competition, threat, suspicion, and violence.’ We shall probably never know what The Passion of Andrea was like, but Simone Mousset’s sequel lands fully formed on the Touch Wood stage at The Place following a mere three-and-a-half days of rehearsal with Luke Divall, Lewys Holt and Mathis Kleinschnittger. Each introduces himself as a professional dancer named Andrea which is where the clarity begins to unravel. What brings them together is their ‘favourite trio’ that they rehearse with childlike abandon and perfunctory brilliance until a perceived error occurs and the trio breaks off in clamorous recriminations and comic-strip violence.

Mousset frames the work within a game where Holt divides the audience into three teams; each has the explicit role of shouting a warning to its assigned Andrea whenever he might be facing a situation of mortal danger, of which there are many. Holt gives nicknames to each performer to be used as the warning cry: Divall is ‘short’, Kleinschnittger is ‘skinny’ and Holt, of course, is ‘best’. Each has his own finger gun in his pocket and when tempers fray out it comes to settle the argument. The heat of unpredictability requires our acute attention to save our respective heroes from being wasted; Divall suffers from a combination of Holt’s recklessness and his team’s slow reactions whereas Holt never hits the deck because of the irresolution of his accusers and the quick reaction of his team. The deviant behaviour, farcical humour, and fast-paced rhythm of the game galvanize the audience into action that in turn encourages a stream of asides and repartee between the Andreas and their supporters. The action fits neatly into the current zeitgeist of political discourse where doublespeak and fake news make a mockery of serious debate, conferring on The Passion of Andrea 2 a satirical edge that only becomes evident, like an echo, after the laughter dies down.

The structure of The Passion of Andrea 2 is in the form of a theme and variations where the Andreas collectively develop the theme of insecurity and confusion followed by delicious individual variations on ‘feeling uneasy’ before the piece returns to its original motif of the favourite trio. Divall, Kleinschnittger and Holt are ideally matched to spark off each other with delightful absurdity while maintaining the clarity of the work’s formal structure.

Touch Wood ‘offers artists the chance to show a short fragment of an early idea or a sketch of a work which is in its conception.’ At 15 minutes The Passion of Andrea 2 is a miniature work but complete in its form and content; it sits like a single movement in a musical structure — an allegro giacoso ma non troppo, perhaps — that suggests it could be linked to other self-contained but related movements as a way of extending this early (or late) sketch into a full-length work.

(with apologies to the creators of other works on this evening’s Touch Wood that we were not able to see)

Touch Wood 1 at The Place

Touch Wood, The Place, September 3

Three women relax, stretch and gaze out at the audience as we come into the studio. On stage there is a wooden platform with two tiny, coloured beach chairs on it and a long wire hanging above it with a light fitting at one end but no bulb. This is Touch Wood, in which ‘four choreographers straight out of the studio seek out the audiences’ reaction as they try out fragments of their latest work.’ Or as the director of theatre and artist development, Eddie Nixon, points out in his introduction, ‘What unites all these works is that nothing is yet finished.’

Dog Kennel Hill has been working on Etudes in Tension and Cries, which Rachel Lopez de la Nieta introduces. It is the outcome of five days of work ‘appropriating scenes of high drama and conflict to see how we find ourselves in relation to them.’ ‘Appropriating’ is the operative word here; despite the gravity of the material the result is ambivalent, coming across as almost parodic. The melodramatic title could be a clue. There are four tableaux in which aggressor and victim change roles. In the first Lopez de la Nieta is a parade ground sergeant barking at a choreographer (Heni Hale) who is gently punching out a movement motif and answering back in army parlance about the duality of mind and body. The second frames a face-off between Lopez de la Nieta as a domineering director and Hale as her terrified, speechless assistant. The director wants her to talk about the work. Lopez de la Nieta’s languorous gyrations betray her pleasure at inflicting discomfort, while Hale is petrified and withers under the scrutiny. Finally, she stammers, ‘I think we should show it to some people and get some feedback.’ In the third tableau, Hale is the bullying aggressor pushing Lopez de la Nieta to her physical limits in a comic book treatment of boot camp with American accents, and the fourth portrays a sexual aggressor (a gyrating Hale this time) whose victim places a length of rope on her own lap, tapes her own mouth and puts her hands behind her chair. Neither Lopez de la Nieta nor Hale hold back in their performance but the treatment of violence remains enigmatic. Annie Loc is on stage to manage the lights — Guy Hoare’s lightprint is in the work already — but has no role in the action.

I had misread the title of William Collins’ work, Untied States, as United States, thinking he was an American in London. As soon as he begins to talk in a broad Scottish accent, I realize my mistake. In his introduction, Collins compares a dance in which the act disappears as soon as it is performed to the written word that can be left and picked up again at any time. I don’t remember what else he said, but his performance remains indelibly imprinted on my memory. Collins shares Untied States with Airen Koopmans and Eleanor Sikorski, but his quirky, angular choreographic style is so idiosyncratic that they wear it rather than inhabit it. As soon as Collins takes the stage, not unlike an Egon Schiele drawing in motion, it is clear he is totally committed to what he is doing; it’s in the eyes which are as engaged as the rest of his body. Collins is someone (he explains later) who can read a book in no particular order, and his choreography borrows from this propensity, though remaining (and this is what dance has over the written word) rivetingly in the moment. When we see emerge from his gestures the image of a long-haired girl throwing her hair around (he has no hair), and fanning herself before taking a refreshing shower, we are not sure if it’s the end of the story or the beginning, but he has fixed it in our minds with his wry sense of humour and inimitable mime, giving meaning to what has gone before. While he is rinsing his hair, Nixon calls ‘time out’ and the work steps out of its frame. In a revealing session of questions and answers with the choreographer afterwards (part of the Touch Wood format), Collins speaks about the beginning of Virginia Woolf’s The Waves in which she describes in minute detail all the elements of a sunrise before the reader can put all the micro elements together to see the bigger picture. Collins seems to have pulled off a similar accomplishment in his choreography.

Valentina Golfieri walks on clutching her Mac, sets up a screen on the side, beams some images on to it and introduces her work, Strange and Unproductive Thinking to David Lynch’s track of the same name. Golfieri says she is not working towards making a product as much as she wants to create a means to an end. The images on the screen are a record of her influences. Standing centre stage, without moving her feet, her arms pull her neck and back down to her feet, again and again, faster, like peeling off a jumper or taking off layers to see what is left. What is left? Golfieri is not sure; her dark and lively eyes wear an expression of uncertainty as the unpeeling gets out of control. She pulls it back from chaos and her face relaxes; she is enjoying the process, circling her body now with raised arm gestures, until a sense of worry and despair returns. As the music stops she is left holding her head. In the silence she repeats a phrase ‘What if I speak now’ quietly, somewhere between a prayer and an incantation. Golfieri’s bold process reminds me of Paul Taylor’s early choreographic experiments in which he deliberately used everyday gestures (walking, queuing, standing) in an effort to rid himself of the influences of his past on any present or future choreography. To some it was strange and unproductive, but it gave him a platform (and the confidence) on which to build. Golfieri’s process is also one of divestment but we shall have to wait to see if it is the stimulus she wants.

Joseph Mercier lugs on his Mac connected to a keyboard. Tess Letham rolls on a suitcase and Leila McMillan and Jordan Lennie drag on large crash pad. Mercier and his Panic Lab colleagues introduce the concept of Toxic as a comic strip: how we might be superheroes, using a movement vocabulary of characterization with little bits of a story. Letham takes her suitcase with her to the microphone to set the story’s context; she has just the right intonation and delivery. The show begins with city sounds; Joseph is a man reading the Daily Mail (with the headline Pupils packed in like sardines) waiting for a bus with two others. Letham herself is, we are to imagine, dressed in a yellow leather biker suit, ‘like Uma Thurman in Kill Bill.’ Mercier picks a fight with her in which the other two join, but Letham makes quick work of his attack and defends herself convincingly in slow motion combat circling the stage, beating them all. She is the only one left standing. ‘It was not my intention to do that in front of you’ she demurs heroically into the microphone.

In the second clip, Lennie is locked up in jail. Mercier the interrogator asks him his name. ‘T-Cell’. We hear the sound of a whip (thanks to sound designer Dinah Mullen). What’s your real name? asks Mercier, trying hard to look menacing. Whip. What do you know about the one they call Canary? McMillan walks down the stage provocatively, arms rising, looking at each of us, a femme fatale. Letham provokes her by saying, ‘I’m the Iron Lady, the world’s most powerful.’ McMillan tells us that the girl wearing the yellow suit is a whole world of trouble. They strut around each other. McMillan zaps her with her fingers: round one to the femme fatale. Mercier moves the crash pad to meet Letham’s next knockout. Meanwhile Lennie wakes up and tangles with her but McMillan steps in to destroy them both while Mercier looks on wide-eyed.

He warns us that the next scene is a little violent. He and Lennie are walking around in another slow motion fight scene, punctuated by violent contact blows or lifts that send Lennie flying while the two girls look on. Letham concludes in a bubble of speech that she knows exactly what she needs to do. They all do. To be continued.