Shadowland

Shadowland
Devised, choreographed and directed by Pilobulus, and their creative team. Arts Centre Melbourne. August 11 – 14, 2016, then touring nationally

Pilobulus brings a return season of its wonderful production Shadowland to Australia, and if the magic isn’t quite as elevating as last time, it’s probably because it’s the same show we saw two years ago, and so we know what to expect. Nevertheless, it’s a remarkable show and a surreal experience for anyone who hasn’t seen it before.

This is not a high tech company, and therein lies half of the magic and the charm. There are a series of screens of varying sizes with ample space on either side for us to see the dancers exit and enter the screen area. And yet, seeing six dancers run behind a screen in no way prepares you for the spectacular sea horse that appears on screen. If we saw at close quarters how the dancers arrange themselves, it would still be magic, because it’s happening in front of our eyes and totally convincing us. Two tiny crabs walk across the sleeping body of a girl and we believe they are crabs. It’s this suspension of disbelief which is all that is needed for the audience to become part of the magic themselves - so we believe in the elephant, the giant who takes our heroine’s head and replaces it with that of a dog, the jellyfish who saves her life - every illusion becomes an alternative reality to the audience.

The story, which owes much to Alice in Wonderland, concerns an adolescent girl, denied freedom by her parents, who melds into her shadow while dreaming and enters a world of fantastic creatures where she is transformed into a dog-girl, almost drowns, falls for another misfit - a brilliantly realised Centaur - until she is finally restored and returned to her bed. The shadow play itself is spectacular and totally engrossing. I still have problems with the actual storytelling. It seemed too trite and without enough narrative for us to make an emotional investment in the lead character. Perhaps if there had been more conflict with the parents in the beginning, the girl would have had a greater journey to realising, subtly, “there’s no place like home.” Having said that, writer Steven Banks is not big on subtext, as Spongebob Squarepants will attest, and clearly, since the show has been an international hit, the company sees no need to tinker with any aspect.

However, the actual dancing surpasses the magic on the screen. Since Pilobulus was formed by untrained dancers all those years ago, I had not expected the stunning level of dance we were treated to in this production. All local contemporary choreographers should see these dancers at work. Pilobulus is a collaborative ensemble, so no-one is credited with the choreography, much of which is exquisite. Without a programme on the night I am unsure if the lead is still Lauren Yalango, however the performer is brilliant, seemingly suspended in thin air as she glides her way across the male dancers, or is moved in some stunning lifts between them. And her portrayal (behind the screens) of Dog Girl is quite wonderful. The simple romance between Dog Girl and the Centaur is breath-taking when it segues into “live” action. Time and space don’t allow me to list the entire company, but it works as a single entity, without weakness anywhere. They are a superlative example of ensemble work, and I am in awe. Clearly they work in the pursuit of excellence - and it shows.

David Poe’s original score and songs are integral to the success of the show and gorgeous enough to warrant a soundtrack CD, and Neil Patel’s set design is perfect, avoiding the super-slick to add elements of our childhood shadow-play. There are only a few days in Melbourne to see this amazing production – at least those of you in other states have time to prepare your inner child for the experience.

Coral Drouyn

Photographer: Emmanuel Donny.

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