Review: SAVING FACE by Si Rawlinson, The Place

Interdisciplinary is a bittersweet word/theory, and when I come across it, I'm equally filled with both anticipation and foreboding. The former as when it works it's hard to beat, the latter as when it doesn't, the night can be an awkward one. And in this spirit, I'm afraid Saving Face by Si Rawlinson is an adventurous, multifaceted piece that hasn't quite found its feet. 

The scene is that of a present day office, and the kinds of relationships you can only have with work colleagues - in some ways closer than family, in others; total and utter strangers.

We meet 4 (well 5 people - see note below) characters who are all dealing with their own baggage: emotional, physical, personal and professional. None of this is hugely surprising, and could be the basis for a piece that really delves into the complex layers of the workplace - and in some ways Rawlinson clearly tries to…yet fundamentally the work lacks real gravitas and obvious connection. 

I didn't truly empathise with any of the individual characters, because I don't feel the performances had enough depth to them. This harks back to the interdisciplinary issue. What's happening here? A play with movement? A dance work with text? Are these dancers who speak? Or actors who move? 

It's difficult to define, and the answer probably lies somewhere right in the middle (#interdisciplinary) - but Rawlinson's current model doesn't properly excel at any of the possible genre it's trying to inhabit. 

The dancers have mad skills though; no question. We see very capable hip-hop and breakdancing execution including moments that evolve into fluid, contemporary-esque dance. There's also a duo section that highlights some ingenious partnering work, but as an overall piece it has a sense of disconnection that can't be denied. 

Periods of narrative speech awkwardly dropping into unrelated dance, and characters segueing from normality into violent aggression at the drop of a hat - yet we're meant to believe this is all taking place in a professional environment? Sorry; but you can't say fuck or strike people at work. To confirm: I'm all for artistic license - but a creator and their work needs to understand what it's trying to be, on some level, if it wants to be understood. 

I probably sound rigid. Unforgiving. But bear with me. Because of course, some work is undoubtedly capable of transcending definition; a sum of its parts - however Saving Face isn't there yet. 

Regardless, elements of the set speak strongly. Four screens with atmospheric lights are used well as space definers, and the overhead (generic) office strip lighting takes on a modern art vibe when different colours are utilised. Elsewhere everything is on wheels (office furniture and said screens also!), and in truth, wheels are a pretty easy, dare I say lazy, way to create movement in choreography of any kind. 

This experience hasn't put me off Rawlinson's work though. It's actually confirmed he's a maker with an individual voice and vision. But currently his creative outcome needs more research/editing in the process, and tangible identity in fruition before it starts doing what I believe he wants it to. 

Note

The 5th person was acting as a carer for one of the dancers who'd injured themselves the day before. The dancer therefore wasn't able to fully execute their role. Not a game changer I'd proffer. 

To post a comment, you must register and login.