The piece is set in the sixties and every element of the staging ensures the audience is submerged in the era. The score plays a vital part, with bluesy music played by a live band aiding the piece’s evocative subject matter.
Focusing on an upper class household, Play Without Words begins with the hiring of a new manservant and ends with the power balance within the house being turned on its head. Lust and seduction are prevailing themes as the piece follows the lead characters’ fall from grace, exposing fragile relationships behind the facade of privilege.
Every element of Bourne’s choreography heightens the sexual tension that dominates the play, particularly during a scene in which the house’s maid slowly seduces her employer, using every one of her movements to evoke his desire. Mixed with these heated interactions, Bourne shows his incredible aptitude for character observation, creating many humorous moments for the audience.
Play Without Words is also a visual delight; dance sequences are often duplicated or triplicated by the cast which heightens the emotion portrayed and creates a feast of beautiful lines and acrobatic movement. Although the busyness of the choreography can sometimes detract from the piece’s story (I certainly felt I would need to view Play Without Words again in order to pick up some of the subtleties in the plot), it is rightly hailed as a dance masterpiece and a definite must-see for anyone passionate about contemporary dance.
I saw the piece during its four week run at Sadler’s Well (ending 5/8/12), however Play Without Words continues to tour and its success suggests that it will no doubt return to London in the near future.
Lots of Razz love, Jenna x