Featuring a cracking, rapid-fire script by Brendan Cowell, the action revolves around one Ruben Guthrie, ad man extraordinaire, who we meet at the pinnacle of his success, and excess
Bodytorque 2.2 should be the sophisticated 'new movement in ballet' it's being cannily marketed as. Especially given the imprimatur of the organisation producing & presenting it. It is. But only, I think, to a limited extent.
It's just possible Version One Point Zero have pioneered a new form of theatre. It's nothing if not didactic (and therein, perhaps, lies both a strength and a problem).
A gifted embroider of words, Friel combines soft lyricism and hard meaning in his play, a tragical comical historical pastoral on a spree and spoiling for a spirited spar.
In the care of Pinchgut Opera’s director, Erin Helyard, this music, formulaic as it indeed is in some respects, sprang off the page into an experience rich in emotions.
Iolanthe and Janet Anderson work in cosmic, comedic accord, characterisation charismatic, timing impeccable, delivery precise, together a tour de force that ascends the cliché.
Blind faith and rational belief are always sparring partners in dramatic conflict and so it is here with the power play tinged with superstition and salaciousness.