Handmaid’s Tale goes to the club in this daring and immersive physical theatre, dance and performance art piece, exploring the rituals that bind us all.
As you enter inner-west’s PACT: Centre for Emerging Artists, with over one-hundred and fifty other unsuspecting viewers, you are instantly plunged into a surrealistic secret society. An all-female ensemble of dancers meticulously executes director, Angela Hamilton’s contemporary choreography, exploring themes of cultism, ceremony and mass-conditioning.
The minimalist set and lighting design allows the focus to always be on the performer’s manipulation of movement and ensemble work. No-one is safe in the space as this bewitching piece forces all audiences to become involved in the ceremony, showcasing how easily we are drawn to pact-mentality.
This, along with the beautiful yet haunting electronic soundscape, makes RITUAL an unforgettable experience, that everyone can immerse themselves in.
Hamilton’s daring vision is expertly brought to life by her cohesive ensemble of performers. For the majority of the piece, the dancers are dressed in unison – white face paint, a piercing red lip with red skirts and hoods.
This avant-garde aesthetic is reminiscent of biblical garments as well as those seen in Margaret Atwood’s Handmaid’s Tale, allowing audiences to instantly draw parallels between the cult depicted in RITUAL and those that encompass us in everyday life, media and literature.
Specific characters within the ceremony are distinguished by alternate costuming – lavish headpieces, face masks bedazzled to perfection, light-up eyewear. Albeit all these diversifications still feel a part of the dystopian world Hamilton conjures.
Every dancer maintained an elevated sense of focus throughout, selling the emotional weight of their choreography. If you were to take a photo at any moment, each performer would be in unison – an impressive achievement in synchronicity that is not easily achieved.
Furthermore, dancers often have an inability to express the same level of intensity that they pour into their movements, on their faces. This is not the case in RITUAL. All the performers are incredibly communicative and utilise their expressions to enhance the storytelling of their actions.
The score of movement consists of contemporary choreography, mime, staccato sequences, canon, repetition to build motifs, expansive composition that encompasses the large warehouse space as well as simple gestures audiences could follow. All of this makes RITUAL a visual feast that never becomes stale.
RITUAL’S set consisted of white cubes that are re-arranged throughout to create varying tableaus and spaces. The simple yet moveable set allows the performance art to never feel constrained. A stand-out section was when all the blocks were stacked on top of one another creating a hill for a solo dancer to perform on whilst others reach, scratch and claw at the base.
This is only enhanced by the magical lighting and sound design. Utilising primary colours of red and blue, a foreboding atmosphere is created with the inclusion of strobe enhancing the intensity of the performance. Another incredible moment was when every audience member was given light up glasses.
This was a sensory overload. It was unnerving though beautiful to view the audience becoming a sea of light as we were each initiated into the cult with the very same glasses the performers were wearing. This is one of the many simple yet effective ways RITUAL utilised set, props, sound and lighting to convey the themes of mass-conditioning and cultism.
One cannot witness RITUAL without discussing how integral audience involvement is for the piece. Before entering the brutalist space, ushers brief everyone on simple gestures that communicate when they should sit, stand and spread.
Throughout the duration of the show, these are utilised ensuring audience engagement is maximised. It was fantastic in the opening sequence that the audience formed a traverse like space. You not only watch the dramatic action unfold but the reactions of audience members opposite you.
Drawing from Artuad’s Theatre of Cruelty – there’s a sequence where the dancers get close and personal – lounging on viewers as they mime to a disturbing voice recording. It was a delight to watch members become embarrassed, excited or petrified.
There was an incredible number of moments like this throughout. A final highlight being when a figure emerged on a high platform as if they were a DJ with all the dancers erupting into a rave. Quickly audiences join in, following the easy movements showcased by the dancers. Everyone’s excitement to follow and be a part of this ceremony perfectly communicates the message of RITUAL and how group conditioning can be so easily achieved.
Angela Hamilton creates an engaging and daring experience for viewers. What Hamilton and her ensemble achieve on an independent level is simply astonishing, leaving viewers speechless. Although its most recent October season at PACT: Centre for Emerging Artists, has concluded, I hope RITUAL can have another life so more members of the public can experience the magic created.
This performance art piece would fit perfectly in with many of the festivals or museums Australia has to offer. Due to its excellent use of sound and light, I can imagine it at Sydney’s very own Vivid festival. Hopefully more is to come from Angela Hamilton and her dance company Twisted Element Co. Whenever and wherever its next on – I implore you to go.
RITUAL
PACT Theatre, 107 Railway Pde, Erskineville
Season: 17 – 19 October 2024
Information: www.twistedelementco.com
Image: RITUAL – courtesy of Twisted Element Co
Review: Lee Andrews