This is what performance is all about. Take one fairytale, add a dollop of decadence, a splash of debauchery and the entirety of Company XIV. Twist until dark. Serve. Now enjoy the sumptuous feast that is Pinocchio: A Fantasy of Pleasures. Transported into a world of seduction, the characters from Pinocchio come of age in choreographer Austin McCormick’s decidedly intimate adaptation. Breaking the fourth wall, the story is narrated by a leather-clad MC, armed with a microphone and a menacing smile. He introduces us to the denizens of a temptation-laden land of sexual ambiguity. Here, both your own and a certain little wooden boy’s wildest fantasies become reality. Each character is brilliantly portrayed through physicality. The choreography is intricate, precise and beautifully vulgar. McCormick fuses styles from burlesque to ballet, adding elements of opera and circus to the mix. The dancers show impressive versatility as they demonstrate their impeccable classical technique, fierce partner-work skills and highly-commercial strut. Oh yeah, they’re wearing killer heels too. The work straddles the realms of the downright sensual and the utterly tragic. Moving seamlessly between the two, a section involving ribbons draped from the flies and wings to the performers is particularly memorable. Crossing and twirling, there is a strange sexuality afforded to the marionettes by the bonds which bind them. This device is subtle yet incredibly effective. When faced with the perils of attraction and lust, what will you choose? Pick Company XIV and take a bite of the forbidden fruit. Enjoy the sensation of experiencing those who possess the grace and poise of ballet dancers, combined with the fearless nature of jazz and seasoned with essence of baroque. Your taste buds will be tingling for more.
