Review: INFAMOUS OFFSPRING at Grand Théâtre

We kicked off the month with the poetic dance performance Infamous Offspring, Wim Vandekeybus’s latest creation. This retelling of timeless Greek mythology merges several performative components in an artistic canvas that kept Luxembourg entertained for two hours of intense socio-philosophic reflection. There were so many interesting elements, that the reader will surely allow us to break from our usual three-medal article, in order to included every reason why you should be watching this show.

The layers: Although the combination of a live-performance and televised scenes is not a ground-breaking example of innovation, the display of Zeus and Hera’s scenes on a screen elevated above the stage clearly defined who were superior gods and who were the infamous offspring. Since this distinction is paramount for character dynamics, the layered construction of narrative progression clearly stood out as a winning choice.

Hera, played by Lucy Black: Helen Mirren mannerisms with the imperative voice command of Judi Dench. Not even this is doing her much justice, her acting was a majestic craft of its own. From her interaction with Zeus (Daniel Copeland) to her conversations with the children, both body language and lines carried a fabulous level of emotional depth.

Hephaestus, played by Iona Kewney: While this character is almost the direct opposite of Hera, very far from regal, barely able to stand up straight, often walking on his hands and poorly articulating his speech, Hephaestus is a bottomless well of emotion and broken aspects of the human condition. As a painter and contortionist, Kewney creates yet another form of expression on stage, one that makes us care deeply about this rejected and neglected version of a fallen god.

The writing: The poetic style of virtually every spoken line is profoundly mesmerizing. You would expect this type of eloquence from ancient gods. And even though the dialogues are fantastic, it is the monologues that really get you. The only one occasionally breaking from this elevated style is Zeus, sometimes adding humorous remarks that never fail to land.

Speaking through dance: As you would expect in a show where dance has a pivotal role, body language often speaks louder than words. However, a couple of moves were particularly remarkable, from the passion expressed in long stares, forehead-against-forehead, to the dramatic scenes of both sex and rape.

As usual, our thanks to the Grand Théâtre and everyone involved.

To reach out to the writer: nuno.de.sousa.lopes@gmail.com

Photo Credit: Wim Vandekeybus