Four Quarters

Four separate, distinct pieces captivate and hold the audience for the full hour, exploring different relationships through some of the most jaw-dropping performance I have ever seen. Isobel Cohen can act beautifully as well as dance, introducing us to her world through a clever, witty monologue that addresses how types of dance differ from each other and why she loves contemporary; and also why she's in a PVC corset. It's genuinely funny and she connects with the audience so well that you feel a kind of affection for her that makes it easy to watch her then break out into dance. Then follows 50 minutes of the most incredible physical performance I have ever witnessed.Isobel Cohen, Shahla Tarrant, Alex Brodie, Steven Johnstone and Victoria Hammond take the stage in various different guises, flawlessly contorting with a dexterity that is enviable. Awkward becomes beautiful, Pain becomes fascinating agony, Unnatural becomes natural. They twist and fill the stage, using even the roof supporting poles and the lighting rig, while every moment you can see in their faces that they are emotionally connected with every electrifying move. Audience members openly flinch as the performers slam themselves into the ground and carry on unharmed or fall and seem to fly away from the floor at the last second. The cast are uncomprehendingly light on their feet, making hardly any sound considering the epic acrobatics they are creating.The only complaint I have is that at one point, myself and another audience member had our view completely blocked by two cast members, meaning we missed another performer's solo and it left me a little disappointed since I had literally only moments ago fallen in love with the dance genre and wanted to see as much of it as possible.Regardless, I will be visiting this company again during the course of the Fringe. They are divine to watch, utterly cohesive as a group with simply mind-boggling physical prowess. Anyone who can provoke such emotions in an audience without speaking is definitely worth a lot of respect and attention. Proof that actions really do speak louder than words.

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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The Blurb

Four distinct, compelling and cutting-edge dance pieces. Choreographed and performed by Isobel Cohen (DanceEast Associate), Alex Broadie (Place Prize semi-finalist), Steve Johnstone and Shahla Tarrant. 'This slick production instantly excites' (Fest). 'Beautiful, flawless and fluid' (ThreeWeeks).

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