What Songs May Do
What Songs May Do is an artistic triumph for two male dancers over sixty minutes to the music of the legendary Nina Simone.
Meticulously choreographed by Mathieu Geffré and sensitively lit by Rachel Shipp, it is an exploration of the meeting, courting, development, and eventual breakup of a relationship between two dancers, Oliver Chapman and Paolo Pisarra.
The piece begins with the two dancers entering hand in hand to Simone’s version of Jacques Brel’s ‘Ne me quitte pas’ (‘Don’t Leave Me’). Both men are in street clothes and are magnificently moustached.
To the strains of ‘Someone to Watch Over Me’ they begin their courtship - their glances, and the accidental touches, until they circle each other with their mouths open like two lions prowling.
The precision of their moves and floorwork is impressive as is the intensity built up in this section. Their feelings for each other are palpable, and we yearn for the tension to break and for one of them to make the move.
They gradually become entwined. Chapman takes on the role of the dominant in the courtship and Pisarra the submissive. These roles are mirrored in the choreography as they often are in life.
As the relationship develops, They remove each other’s clothes; jackets, then T-shirts and trousers, and while there are minor tiffs, their hands locked while pushing each other away, indicating indecision, there is overarching unity as they dance together bodies swaying and glistening with sweat.
The dancers leave the stage briefly to change and return to dance to “Marry Me”, highlighted by Rachel Shipp’s clever use of vertical lighting bars on each corner of the dance space that serve to give a ‘snapshot’ of the dancer’s inner thoughts.
The use is silence in this piece is powerful as Pissara dances alone before Chapman returns and it is clear that something has changed. There are refusals that start gently and then become aggressive.
This section is danced to a concert version of Simone singing ‘Feelings’, an excellent choice as the dancers’ breakup and eventually reunite in the silence at the end of the number. It is a moving moment.
Geffré’s choreography ingeniously combines acting with dance, concentrating on the naturalistic nature of dance. It varies from exuberant leaps, to intricate floorwork, to playfulness and the elegance of ballroom. Highlights for me were the slow-mo sections, the intwining of bodies, the seemingly endless twirling of Chapman while holding Pissara in a lift, and the stamina/endurance of the dancers who realised the choreography.
What Songs May Do is a clever piece of choreography mirroring life and giving us a glimpse into a relationship danced to memorable music. It is both tender and touching!
Barry Hill OAM
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