Locally-based opera scenes group Scherzo presents a programme Spanish and Spanish-inspired works. They are all frequent performers on local stages including many SLO and SSO productions. They are Kong Ling-Yi, Chieko Trevatt, Caroline Martin, Laura Abello, David Ng and Marky Canios. A chamber ensemble of orchestral instruments will be on hand to accompany the proceedings.
Contemporary dance company RAW Moves presents Indices of Vanishment, an original dance piece choreographed by ST Life! Theatre Awards nominee Edith Podesta. It also includes Lighting Design by Adrian Tan, Sound Design by Teo Wee-Boon and performed by the RAW Moves Company Dancers.
Edith Podesta is very excited to present her work with the RAW Moves dancers, 'Working with dancers is a luxury because their bodies are so eloquent and their muscle memory so enduring that I can work deeply and quickly in the studio. As a choreographer, I’ve always been interested in the democratisation of the dance form. Although I believe everybody can dance, there are caveats to that hypothesis. An untrained body lacks the powers of repetition, access to emotion and breadth of somatic articulation needed for live performance. Working with the dancers from RAW Moves is such an absolute joy!'
About her inspiration behind Indices of Vanishment, Edith shares 'The title comes from an essay about performance archives written by Rebecca Schneider titled ‘Performance Remains Again’, 'We understand ourselves relative to the remains we accumulate as indices of vanishment, the tracks we house, mark, and cite, the material traces we acknowledge as remaining'. I was also influenced by Marcia Siegel’s book 'At the vanishing point: A critic looks at dance'. Siegel states that dance 'exists at a perpetual vanishing point'; I thought the parallel between the ephemeral in dance and the transitory nature of life very striking."
Our resident correspondent Hawk Liu interviews Matthew Goodgame who plays Billy Flynt in MBS's production of Chicago, and resident director Ian Waller, to find out what's in store for us audiences. Check out the performance footage between interviews as well!
Conductor Anthony Inglis leads a live orchestra in the iconic music of Hollywood composers Hans Zimmer and John Williams at MBS's MasterCard Theatres on 10 and 11 March 2017.
On the programme is nearly two hours of musical scores from movies such as Pirates of the Caribbean, The Dark Knight Rises, The Da Vinci Code, Batman Begins, Man of Steel, Gladiator, Inception, E.T., Harry Potter, Jurassic Park, Close Encounters, Star Wars and Superman among many others. Check out the Events Page for more details!
Kander and Ebb's sexy classic dance musical Chicago returns to Singapore in a production at MBS from 8 to 26 February 2017. The sexy, sassy score includes All That Jazz and Cell-Block Tango. It has won a slew of awards including 6 Tonys, 2 Oliviers, 1 Grammy, 2 BAFTAs and 6 Academy Awards based on the movie adaptation starring Renee Zellweger and Catherine Zeta Jones, Check out the Events Page for details so you can attend the live shows!
Paragraph presents Re-Membering Identities
Goodman Arts Centre Blackbox
A Review by Hawk Liu
The dance concert is a triple bill of interdisciplinary works of an abstract nature.
The first piece by choreographer Royston Fan features two female dancers and a tall, speaking actor, dapperly dressed in a white suit, white pants and white shoes (Alvin Koh). There is a good mix of monologues, dance and mime. By the end of the piece, one wonders about the relationship between the three characters. It is well performed. However, on the sound balance side of things, the music level is too high for the monologues to be heard. Also, please do not use excessive percussion in the music if words are meant to be heard.
The second piece by Vroom Broom Group uses repeated techno music where two females dancers go through the same set of movements on a circuit round the entire stage and different times while a lone be-muscled man in the centre spot does his own sets of movements. At the end of the piece, one of the female dancers takes over the centre spot to replace the lone guy, thus completing one cycle of the dance. That is an interesting idea.
The 3rd piece by Max Chen is the longest one involving a number of dancers and an opera singer (soprano Satsuki Nagatome). There is an integration of operatic singing, mime, speech, story telling and dance. This piece is engaging as there is a variety of art forms and movement material than the previous two pieces. It is also humorous in nature and entails a fair bit of audience participation, most notably a latecomer who had his lack of ballet skills cheekily pointed out by the cast of dancers. The mobile phone becomes an object of focus too, likely linking our current obsessive devotion to it.