Reviewed by Hannah Goodman
In an increasingly fast-paced world, it can be easy to forget just how slow the Earth’s natural landscapes evolve in comparison. This concept of change, sometimes too slow to be measured by humans, was translated into dance for Larsen C. Inspired by the Antarctic ice shelf of the same name, this Greek production was brought to the stage for the Perth Festival.
The ensemble of six, featuring Maria Bregianni, Georgios Kotsifakis, Sotiria Koutsopetrou, Alexandros Nouskas Varelas, Danai Pazirgiannidi and Adonis Vais embodied the constant change of the natural world. With a baseline of flawless synchrony, each ensemble member built upon the choreography with their own unique flair, whether it was Nouskas Varelas’ slightly heavier movements or the sharp, intricate isolation of body parts executed by Kotsifakis. This allowance of unique expression reflects the intentions of creator and choreographer Christos Papadopoulos, who wished for the choreography of Larsen C to be influenced by a more natural flow of movements, rather than adhering to a rigid stylistic framework.
Dressed in all black with a subtle sheen that caught the stage lights, the ensemble drifted across the stage in a haunting fashion that at times reminded me of the Willis in Giselle. The stage was quite bare, with a vastness mimicking that of Antarctica. Against the unchanging backdrop, an eclectic soundscape by Giorgos Poulios was superimposed featuring a range of sounds, from the cracking of ice to rhythmic synth tones. Together, with the use of literal smoke and mirrors, these elements juxtapose an ethereal softness against jarring unpredictability, both characteristic of being in a dreamlike state. The degree of separation between the audience and ensemble changed throughout the piece, thanks to some clever lighting and the use of smoke machines.
It’s interesting to think of the subtler ways humans “move” – whether it be changes at the cellular level over the life course or the adaptations to our environment experienced at the species level. Constant flux is the common thread, and this infiltrated all aspects of Larsen C. For the near entirety of this sixty-minute performance, all ensemble members on stage were moving, whether it was gliding across the stage, or rhythmically pulsing their bodies. Every movement was executed with purpose and patience.
Though the premise of this performance is something everyone can relate to, the overall construct is quite abstract, and audience members may benefit from a quick read of the program before viewing it. A must-see, this performance encourages contemplation in the foyer, in the theatre, and on the way home.
Reviewer Note: Tickets for this review were provided by Perth Festival.
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