Review by Kate Gaul
Scottish company 21Common present a “dance spectacular” mashing karaoke carnage and feats of physical endurance with kick out time at the Grand Ole Oprey (Glasgow, not Nashville). Using tropes of Western movies, it explores how poverty and violence shape a man and can destroy a family.
This is an exploration into a family circle that more often resembles a bear pit. The empty stage becomes a saloon (with country classic karaoke), speakeasy and bare-knuckle boxing ring. It’s a Wild West sitting room with those who spit and those born to fight. The Wild West as analogy for a turbulent family and domestic violence is a clever one. The violence is expected and slightly more “palatable” when framed this way.
In their work, 21Common blend iconoclastic references, pop culture and preoccupation with risk and danger to create “spectacular” dance experiences. Its key collaborators are Artistic Directors Lucy Gaizely and Gary Gardiner, Scotland’s leading learning-disabled dancer Ian Johnston.
I didn’t find this work “spectacular” as advertised and once the show began I wondered if the work is youth theatre working with professional mentors.I don’t think I was the only audience member confused. With a post show google I discovered that indeed 21 Common are a charity based in Glasgow who are known for creating work with and for their local communities. The ensemble for this show is made up of both professional and non-professional performers from Paisley, Linwood and Johnstone. I am not sure why there's nothing on the venue posters or on the Edinburgh Fringe website to support this description. The issue being that it takes a while to work out exactly what is going on within the group onstage. And it felt weird having the older dude leading the company without context.
The dancing is in usually unison and behind the main older dude who speaks in monologues. With a group of 12 onstage the images can be complex and quickly created and transformed. This is strong work. The older dude is charismatic – speaking and moving with ease. Scenes are well choreographed, accompanied by video projection and titles as we go.
But it’s a tough watch. We meet The Man, The Woman, The Rascal and The Boy. Poverty, desperation and lack of opportunity just grind people down and the cost is immense. Fortunately, a few scenes as I mentioned are accompanied by upbeat music and glorious karaoke from the wild western music canon. The use of romantic contrast here is unique and resonates well for the audience. Even when the onstage action is clearly born of a domestic dispute. The show is well conceived, rough around the edges, and a strong testimony for working with community to find a voice.
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