Review: ADELAIDE FESTIVAL 2020: DANCE NATION at Scott Theatre, University Of Adelaide

Reviewed by Barry Lenny, Thursday 27th February 2020.

The State Theatre Company of South Australia is presenting Clare Barron's Dance Nation as part of this year's Adelaide Festival. The production is directed by Imara Savage, with choreography by Larissa McGowan, and music by composer, Luke Smiles. Clare Barron's 2019 Pulitzer Prize-nominated play, first performed off-Broadway in 2018, draws on the popularity of the over-hyped, often quite dreadful dance-oriented television shows that seem to have proliferated over the last few years. In this work, adults play thirteen-year-old students who are preparing for a national competition in Tampa Bay, the Boogie Down Grand Prix.

Designer, Jonathon Oxlade's, set is large corner of a mirror-walled dance studio, with ballet barres on both walls and a small block of lockers and a bench downstage to the audience's left. He has also contributed some impressive costumes. Alexander Berlage's lighting design and Andrew Howard's sound design are intimately engaged with the performance. Choreographer, Larissa McGowan, has created some sensational routines, with a tongue firmly in cheek at times, and Luke Smiles has added a notable score.

It all starts with a full ensemble tap routine, with the students dressed in cute sailor outfits. It doesn't stay that light and bubbly for very long, though. Vanessa, one of the dancers, lands badly and has to be taken to hospital. Elena Carapetis, who plays Vanessa in the first routine, then goes on to play a few of the 'Moms', contributing several very different and convincing characterisations. The look on her face, though, as the injured Vanessa, is priceless, and unforgettable.

At Pat's Dance Academy the students all expect him to pick his favourite, Amina, to be the lead dancer in a new routine inspired by Gandhi. Pat by name and pat by nature. We quickly suspect that his interest in his star pupil is not entirely professional. The cast, remember, are actually all adults. The company's Artistic Director, Mitchell Butel, in another very fine performance, plays Pat as somewhere between a football coach and a military commander, delivering some very funny pep talks and instructions. Much of the humour comes from his interpretation of the character, who takes himself and his work so seriously.

The impending competition, though, is simply a thematic element to tie together a series of monologues or duologues by the students, revealing their inner thoughts and feelings.

Emma Harvie plays Connie, who feels that, as she is of Indian descent, she should play Gandhi, but Pat announces that all will learn the solo routine and then he will choose the person for that role. She is flabbergasted when she wins the role, then is deflated when it is revealed that she will be sitting and doing nothing. A new solo role, the Spirit of Ghandi is announced, and goes to Zuzu.

Amina is played by Yvette Lee, and her best friend, and less talented admirer, Zuzu, is played by Chika Ikogwe. Zuzu doesn't feel that she has what is needed inside to make her a greater dancer. Even when dancing for her mother, who has cancer, she laments that she conveyed nothing to the audience. When she wins the role over Amina, she is embarrassed and awkward about it. Amina, though, is destined for higher things.

Tim Overton plays Luke, the only boy in the class, who feels most uncomfortable at times, when the girls discuss their emerging sexuality in considerable detail.

Maeve has big dreams, wanting to be an astrophysicist, and is not as obsessed with dancing as the rest. Rebecca Massey gives us an empathetic Maeve consoling Zuzu, and confiding that she has the ability to astral travel.

Sofia is played by Tara Morice, who is vulnerable as she and Connie admit to depression that will carry through their entire lives.

Ashlee is played by Amber McMahon, who stops the show, receiving immense applause at the end of her tour de force monologue. You'll need a ticket to learn more of that.

There are many laughs, generally coming from very dark humour, and a great many poignant moments. Take note of the content warnings when booking, though, as this is a powerful piece that pulls no punches. Bookings for all of the Festival productions have been heavy, so don't delay if you have not yet secured your tickets.

To post a comment, you must register and login.