Review: Revisor feels lost in the shadows GlobeArts
, Pite and Young seem to repurpose that form rather than let the new material generate a fresh one. There’s nothing the slightest bit wrong with that in principle; in fact, a quality I admire in Pite’s choreography is its sense of signature, as though I can see her physicality printed, like a palimpsest, on her dancers’ bodies. The issue withis that there’s a disjointedness in its melding of story, text and movement, a too-strident effort in making all three cohere.
Ella Rothschild, Cindy Salgado, Jermaine Spivey, Tiffany Tregarthen, Doug Letheren, David Raymond, Rena Narumi, Matthew Peacock in Revisor.The first half operates mostly like a play, in which the dancers act out dialogue spoken via voiceover by a cast of actors. The setting is a government complex in a Russian interior ministry where a group of outlandish and corrupt bureaucrats believe they’re hosting an important inspector.
The conceit works less well when the dancers merely literalize their lines with movement. There is so much dialogue – and it contains so much detail about systems, rules, ministries, protocol – that any attempt to understand what’s going on is self-defeating. Of course, this feels like a self-reflexive comment on the nonsense that is bureaucratic language, but it leaves an audience unsure of what content they’re meant to retain.
Insofar as the work has a protagonist it’s the character of the Revisor , who is initially held in the complex’s run-down underground chambers, before the debacle of mistaken identity ensues. He accepts bribes, drinks and cavorts with the director’s wife – he’s a not a character who can set up any narrative structure for redemption.
Still, the production never fails to look good. Stylistically, it exists in the heightened realm of a Wes Anderson film, where textured and dramatic costumes are set against Jay Gower Taylor’s poetic and economical sets. David Raymond gets a stunning solo under a flashing lamp, in which time seems to fast-forward because of sudden oscillations in the lighting . A pair of decorative antlers in part one reappears as an antlered-dancer in part two, who slinks on stage with oneiric symbolism.
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