Broadway Baby

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At the beginning of Maria Addolorata, a man and a woman in caricature-like costumes sob uncontrollably and blow their noses. As they literally fall out of their outfits like shelled nuts, they set up the comedic tone of the next part of the show.

Both choreography and execution are faultless, and carried out with confidence and skill.

Blending contemporary dance with raucous singing and bits of acting, Maria Addolorata sets out to be an exploration of pain and suffering, and how people experience them. However, this only comes across effectively in the last part of the show. Before that, the two talented performers dance their way through a number of slightly comedic acts, which include beer cans, jogging around the stage and a fake gun out of ammunition.

To be fair, those acts run on the line between tragic and comic, and a particularly giggly audience affects one’s experience of the show. Even so, however, it seems like the show often fishes for an easy laugh, and although the dancing is great throughout the show, there is only so much amusement that a drunken rendition of Amazing Grace or running in scant clothing can arise. Things get more engaging once both dancers strip down to their underwear. Together with their clothes they also shed the forced comedy of the previous scenes and now offer raw, heart-felt performances that touch the audience without trying to elicit a laugh.

The audience appeared to be delighted by the dancers’ performances, and rightly so, from a technical point of view. Both choreography and execution are faultless, and carried out with confidence and skill. The chemistry between the dancers is tangible, and after all the show has been touring for a while now. It is just a shame that, throughout most of Maria Addolorata, the dancers seem to dance for the audience’s amusement rather than for the urgency to communicate something.


1st Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
2nd Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
3rd Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
4th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
5th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
6th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
7th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
8th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
9th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
10th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
11th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
12th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
13th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
14th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
15th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
16th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
17th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
18th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
19th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
20th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
21st Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
22nd Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
23rd Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh
24th Aug 20146:40pmSummerhall
1 Summerhall, Edinburgh

The Blurb

Winner of Jury Prize HiverÔclites 2014 Avignon, France. Suffering has no linear narrative: it hits us unexpectedly, unforeseeably, unstoppably. A two-person investigation on trying to survive this tidal moment, when pain becomes the driving force behind physical reactions. Our approach is to work in close relation with society in its various aspects. Through a bare-bones language free from superstructure, C&C try to analyse the depth of relationships by meeting people and trying to bring truth onto the stage. All this is enabled by a physical language that allows the audience to feel represented within universality. www.ceccompany.org

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Website
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Twitter
@mariaddolorata


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