At only thirty minutes long, La Poeme may seem short in length, but the performance manages to fit as many engaging images into this short time span as is humanly possible.
Jeanne Mordoj is the lone performer onstage. She stands awkwardly as she plays a drone instrument and moans a tuneful and loud mantra. Mordoj has a background in circus performance and as a contortionist; her ability to entertain through movement and magic is obvious in the succinct and expressive presentation of La Poeme.
Mordoj stalks around the stage while eggs fall from her skirt and suit jacket and crack on the floor. During this time her face changes and contorts as she evokes the persona of a bird. On top of her head two plastic discs are delicately perched. The performer eventually removes the objects, then skilfully passes them from hand to hand as the eyes of the audience struggle to catch up with the slight of hand and fast movement. While this is ongoing, eggs continue to fall to the ground and it appears as though the performer is laying them herself.
The performance itself is very much like a poem, with the abstract and surreal coming to the fore. Where words can suggest feeling and emotion, Mordoj does the same with physicality. Her ability to contort, twist and warp her form is compelling and a sight to behold. Through this she presents a femininity and vulnerability which is further expressed during the melancholy conclusion, ending on a forlorn and downbeat tone.
As the house lights dim and the applause rings out the audience is presented with a somewhat tragic ending to an all too short but engaging piece of theatre.
