By Grace Neo
The lights dimmed and a spotlight shined upon a Man on stage. Kicking off the triple bill was Notes of Last Thursday by Marcus Foo. Emphasizing on words instead of music, this gripping piece took a melodramatic turning point. From the childlike and amusing recollections to despairing and hurtful memories, it was an emotional roller-coaster ride for the audience. Zealous dance moves aside, rawness in speech and emotions were drivers to the wondrous performance. Ending the act with an unexpected tinge of optimism, it certainly was an intriguing piece which tugged at the audience’s heartstrings.
Unlike the vibrant colours which Foo’s dancers wore, the six female dancers delivering Goh’s piece 112319892416856 were attired in simple grey outfits. Compelling right from the opening, the dancers’ expressions, emergence of erratic numbers and bizarre yet noteworthy music moved audience towards the edge of their seats. In contrary to usage of universal numbers as the title, the piece itself ripped emotions down to the barebones. Interesting was an understatement, for it was an act filled with allure and intensity.
The last act of the show was dedicated to Lee Ren Xin’s piece of She’s Chinese and I’m Twenty Five. Inspired by the poem I Got Flowers Today, flowers was a distinct metaphor for women and it was tactfully used throughout the performance. The absence of a specific orientation did not matter, for distinctive contrast was the cynosure of all eyes. Confronting the stereotypes of women head-on, it was a piece which empathized with women through imageries and personifications.
Midst simple lighting effects and limited seats in the theatre, intimate surroundings had blurred the boundaries between audience and performers. As such, performers’ ardour and sincerity were able to evoke the audience’s emotions effortlessly. A fervent night indeed and to chase withdrawal syndroms away, I am anticipating the upcoming New Vision Studio Showcase in August which features Goh Shou Yi’s new creation once again!
