REVIEW: Guest Reviewer Kym Vaitiekus Shares His Thoughts On MORTEL

Wednesday 26th April 7:30 pm 2023 KXT on BROADWAY

Sydney's newest physical theatre company MERAK, founded by Steven Ljubović presents MORTEL, its the debut production.

Directed by Steven Ljubović; with Phoebe Atkinson, Gemma Burwell, Abbey Dimech, Giani Leon, Meg Hyeronimus, Levi Kenway, Aiden Morris, Bella Ridgway, Shannon Thomas

Entering the new venue for KXT, we delicately walk around what appears to be embryo sacks with elongated umbilical cords. With pulsating audio the scene is mysterious and serene.

9 dancers struggle to emerge, with movements that mask their faces. Rather than identifying the individuals, they are beings starting their journey.

They become one, breathing in unison, solemn heartbeat music is heard as the entity rises looking to the heavens.

Finding new journeys they break off and form elegant pairs. This evolves to a vision of walking through life, emphases with marionette style moves.

A wild party scene erupts leading to individual rants.

The multi-stage fitness (MSFT) beep test becomes the framework for further personal expressions of anxiety.

More varied and similar style movements create additional scenes of struggling with existence.

The work completes as the beings return to their sacks, resembling death shrouds.

The choreography incorporates guttural, instinctual and primeval movements reminiscent of Hofesh Shechter Company. What appears to be improvised and organic movements are precisely choreographed, made apparent when the ensemble beautifully come together in sync.

The dancers' energy, commitment and intensity is matched by their physical skills and prowess.

The press release states: "MORTEL delves into the essence of being mortal and explores the phenomenon of life in nine stages as told through the body of thirteen performers."

The beauty of dance work is that it connects to its audience by creating an environmental sensibility. It uses the language of emotions as created by the elements of humxn physicality, audio landscapes and engaging visuals.

MORTELS had points of connection for me. The choice of movements, music and emotions created moments with gravitas.

Many scenes seem to repeat the tone of garish moves with angst intent. The 'nine stages' were not clear and scenes were somewhat similar. The enormity of effort the company has put into MORTEL is apparent. The work could potentially benefit from moments with a varied essence and intent.

MORTEL connected with many of the audience members, I look forward to MERAK's next production.

KXT on Broadway is a masked venue.

Photography: Abraham de Souza

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