Does instant connectivity help our attempts to make meaningful relationships with our surroundings and our fellow humans? Or does it reinforce feelings of isolation and inadequacy as we reflect upon and react to connections made and lost? A dynamic exploration of the ways in which modern methods of communications affect us all, using dance, physicality, aerial acrobatics, tight-wire walking and original music. A modern love story set in our digitally connected world. Distanced by a world of wires, two lost individuals work on finding each other, but in doing so must first find themselves.
Catch the Bird Who Won’t Fly is a digital dance-theatre piece made during the Covid lockdowns by working remotely with artists to bring attention to the devastating reality of a crime, which increased during lockdown and is often shrouded in secrecy – domestic violence against women. Using animation and green screen technology, four individual stories are told through Kathak dance from real-life experiences that were researched with the company’s network of women’s group users.
A hypnotic dreamscape. Through binaural sound audiences are drawn into the mind of a woman who grew up with severe depression and BPD, as she tries to find the answer to who she was, how she came to be that person, who she might have been and who she is now. The audience is taken right to the heart of the most difficult memories, that ultimately transcend the past and point the way to a different future. A future where the memories lose their grip, and with that loss, the power of the abuser fades.
Designed specifically to be experienced with headphones, alone, with the lights off and the curtains drawn, Covid Lockdown Breath Machine is a fantastical, transformative and uplifting adventure into the symptoms and imaginings of a coronavirus patient. A woman on the edge of collapse battles a fever as the sweats carry her inside her body. While the world battles coronavirus, one woman searches for answers in her fever dreams. Take a breath and let this breeze whisk you to a world of kaleidoscopes, household gods and mushroom spores on a fresh but capricious westerly wind.
The brain child of multidisciplinary artist DK FASH, VOL. 1 takes us on a journey of fused styles and genres boldly challenging what dance and storytelling can be and look like through this compilation of conceptual dance short films.
Meet Davy. The things he sees. His streets. His mates. His girl and… The Boys. ‘It is what it is. It’s hard to say what it is. It’s just, you know. What it is.’ East Belfast Boy goes digital. Filmed throughout East Belfast in the summer of 2020 and directed by Emma Jordan, East Belfast Boy features a stunning physical performance by dancer Ryan O’Neill, with voiceover by actor Terrence Keeley and a thrilling updated soundtrack by Phil Kieran.
Lissa is defensive, deaf and failing university – the last thing she needs right now is to fall in love. Siôn is a wide-eyed Pontardawe boy with rock-star dreams, desperately in love and about to have his heart broken. And Josh… Josh just wants to beat the end of level Boss. With humour, honesty and a lot of breakdowns in communication, Fow asks us how we fall in love when we don’t hear each other and finds there is always a way if you just look hard enough. A heart-warming love story told in different languages.
Four individuals who perceive and interact with the world slightly differently meet on stage to dance together and alone, to surrender to motion that arises from their own uniqueness, from their own longing and love. The performance is a gentle yet radical comment on the right of people classified as intellectually disabled to be regarded as dancers, performers and participants in society – as people with senses, desires and yearnings. It was born out of a process that has drawn on the lives and the experiences of the participants and is guided by the choreographer’s personal philosophy of performance.
Literally meaning ‘joy’ or ‘happiness’ in the Yakurr dialect of Cross River State, Nigeria; Ludala is a collection of conceptual short films commemorating Black joy, Black love and blackness. Produced by Initiative.dkf – Eclipse Award winners 2020-21. Supported by Albany and Tamasha Theatre.
In a space cluttered with discarded costumes and glasses of milk, Sally dresses, undresses, drinks and dances in an attempt to embody the women that brought her into being. Mother’s Milk is an exploration of the ways in which we carry the women who came before us. Alongside recorded conversations with her mother and grandmother about teenage pregnancy and sleazy nightclubs, Sally travels through time attempting to grab ahold, retrace the steps and remember the conversations – before I forget them, you forget me, we forget any of this ever happened.
My Car Plays Tapes is the new storytelling show by John Osborne, about getting older, jobs, cars that don’t really work and how to make big decisions with your life. From the creator of John Peel’s Shed ***** (Scotsman).
400 milliliters. That’s how much liquid was drained from Michael’s left testicle when he was a teenager. That’s more than a can of coke. He should have told someone sooner, but who could he turn to? His dad died ten years ago, and besides, school is full of rumours about what the giant bulge in his trousers actually is. Who wants to stop that? The true story of a Belfast boy growing up with no father to guide him through and a giant ball.
‘The only thing for you now is to find a good wife.’ Oh no. Every time. Rajesh is a banker in London who parties hard but feels like he’s missing something. Naresh is a Rajasthani cricket bat maker who’s so awkward around love he’s on the verge of giving up. On his mother’s suggestion that he visit India, Rajesh encounters Naresh in a nightclub and sets off sparks that neither can deny. Set after India’s landmark decriminalisation of homosexuality in 2018, Rajesh and Naresh is a Queer romantic comedy for the modern age.
The Receptionists is a physical comedy show about customer service by two Finnish female clowns. The two receptionists are fast-talking smooth moving professionals in the hospitality industry. They speak multiple languages, none of which you can understand, and have an almost pathological fear of their customers. Impressively silly and exceptionally charismatic, Inga and Kristiina have a unique and hilarious chemistry which makes the whole experience delightfully bonkers. With exceptionally skilled smiling and some nifty acrobatics the clown duo shows how comical and absurd customer service can get.
Drawn from one of the most popular works of classical Chinese literature, this stylishly buoyant show by Nai-Hsuan Yang’s Les Petites Choses Production is fierce fun for all ages. Introduced by a welcoming narrator, five godly characters spring vividly to life from page to stage. The wonderfully game cast’s energising fusion of hip-hop and contemporary dance is further enlivened by a folk-techno soundtrack. The result is a highly entertaining slice of theatrical mythology brought bang up-to-date for a global society that might well need a new breed of heroes.