Fabulous Animal is a composite artistic project, which includes
photos and videos of professional dancer Zosia Jo and of workshops’
participants and Zosia Jo’s live performance at Cardiff Made. It is
an exploration of the body in its fleshy and animalesque dimension.
The performance begins with Zosia Jo feeling her body, her teeth, her
arms, licking her arm, comparing the hair in her armpits with the
hair on her head. She stretches her muscles and shakes her body. She
dresses and undresses.
The performance
starts with playfulness and warmth. Zosia Jo is friendly and puts us
at ease. Zosia Jo has a beautiful physicality and control over her
body. Every move looks natural, with no tension, and easy. As her
body moves slowly and softly, it becomes seductive. It is seductive
in the literal sense of the word, in bringing us closer. She embodies
an eroticism without a mask.
In the very small
space of Cardiff Made, Zosia Jo projects a sense of wider nature. She
moves like the waves of the sea, like the movement of our lungs as we
breath. What is striking of the performance is her ability to give a
sense of being in nature and part of nature. Zosia Jo is successful
in stripping us of our everyday masks and let us see that underneath
our clothes we are animals. In nature, the spectators would have been
able to sense more their own body and their relationship with rocks,
sands, trees, or water.
The texts beside the photos give a thoroughly research context linking this exploration of the body and nature to feminism. However, it is too abstract for the performance, while it is probably more powerful in the contexts of the workshops Zosia Jo did in Egypt. The exploration of the body outside of societal constructs of beauty, strength, and skill can resonate with men as well as women. In a disembodied society, we can all benefit from experiencing our bodies differently. At the performance, we remain spectators; yet as we watch Zosia Jo, we can imagine her as an animal. Like a butterfly she spreads her wings and she is nature. She is a fabulous animal.
Audio review of the production with music from the production
‘Cabaret’ is highly regarded as being one of the greatest musicals of all time and has some magnificent songs and fascinating characters, it also has a strong compelling and highly political storyline with a message from history that can’t be ignored. Set in Berlin on the eve of World War Two in the 1930’s, it shows the rise of the Nazis against the apathy of the masses, and describes a change that would prove to have terrifying consequences for everyone who lives in Berlin. Most of the story unfolds in the seedy ‘Kit Kat club’.
I was not sure of what to expect when attending the Royal Welsh College of Music and Drama for this production as I had only heard some of the songs from the musical and was unfamiliar with the storyline, so I must admit when the house lights dimmed and the characters began to enter the stage to the song ‘Willkommen’ I was slightly perplexed at the characters in front of me and their stage presence especially only being 17.
For many, including my mother who I attended the show with, imprinted on their mind was the film version of the musical starring Liza Minnelli as Sally Bowles, Joel Grey as the compère and Michael York as the young Englishman.
The stage show opens with the arrival of a young American, Cliff Bradshaw (played by Jonathan Radford) in Berlin on New Year’s Eve 1930. In a chance meeting at the railway station, he’s becomes friends with the very polite and helpful Ernst Ludvig (played by Tom Corbishley) who refers Cliff to Fraulein Schneider’s lodging house while he is staying in Berlin. Later in the story, Cliff is introduced to the ‘Kit Kat Club’, a cabaret club where anything can happen. He meets Sally Bowles, a singer who escapes reality when performing her songs in the club.
Set against Cliff and Sally’s relationship, and the relationship between Fraulein Schneider and her Jewish fiancée, the Nazis start to show their might and their threat is felt by all at both the unassuming lodging house and the Kit Kat Club. Adena Cahill as the upper class English Sally Bowles is very good. Fraulein Schneider was played by the believable Rosie Archer whose characterisation was excellent as well as that of Dafydd Gape who played the kind, caring and helpful Herr Schultz. Jennifer Ruth-Adams who played Fraulein Kost was able to do this very well and produced some comical scenes when trying to get her sailor lovers out of the lodging house without Fraulein Schneider finding out.
However, for me the star of the show was Corey Jones as Emcee, whose performance was outstanding and whose stage presence was simply mesmerising and as soon as he entered the stage you could not take your eyes off him. Jones’ Emcee was extremely dark and edgy with an exceptionally strong character and you were never quite sure if he was simply a welcoming host, or one that really despises all people.
Corey Jones as Emcee
Photographic credit Kirsten Mcternan
The level of the singing in the production was brilliant and there was not one character that slipped out of their German or American accents. It felt as though I was in Berlin watching the show. The performance of ‘Tomorrow Belongs to Me’ by Ross Hoey as a young Nazi was very chilling and this was made more powerful when the Nazi flags dropped down on each side of the stage. With well-known songs such as ‘Maybe This Time’, ‘Cabaret’ and ‘Mein Herr’ it is sometimes difficult to live up to audience expectations but the cast of this production surpassed themselves. The band that played during the performance was equally exceptional and brought the music to life.
The ‘Richard Burton Theatre’ housing the performance was very fitting and gave the audience a feeling of intimacy with the characters on stage. You felt you were part of the audience in the ‘Kit Kat Club’ taking part in all the action.
The staging worked equally very well with the theatre and as one entered the theatre we were greeted by a large structure hanging diagonally on stage with simply some chairs below it. There was also a large use of period lights on chains that along with the structure moved during the performance. This was used extremely well as it gave the effect that the ‘Kit Kat Club’ was opening up in front of the audience. The minimal set worked extremely well and allowed the audience to concentrate more on the characters opposed to the surrounding.
The Entr’acte from the Musical ‘Cabaret’.
Overall, this is an utterly breath-taking performance even if it is rather risqué in parts with a chilling end but I will certainly be attending far more shows at the Royal Welsh College of Music and Drama because if the level of performance is always this high, you are guaranteed an amazing night at the theatre.
Type of show: Theatre
Title: Cabaret
Venue: Royal Welsh College of Music and Drama
Dates: 22-30 June
Director: Paul Kerryson
Music: John Kander
Lyrics: Fred Ebb
Musical Director: Nathan Jones
Choreographer: Tom Jackson Greaves
Set Designer: Tina Torbay
Lighting Designer: Becky Heslop
Costume Designer: Jessica Campbell Plover
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
