jop.txt

Judgment of Paris - Company XIV/Fringe Management
venue :: Rocket @ Demarco Roxy Art House
see links :: http://www.companyxiv.com see video preview
http://easttoedinburgh.com/
category :: Dance & Physical Theatre
Reviewed date :: 21 08 08

Review: This was probably one of the best of 2008's Fringe shows and
one which deserves lavish praise. It's an intelligent, brilliant 
combination of theatre and dance that draws its inspiration from a
variety of sources. It manages to lampoon certain classics (Homer's
Iliad, Euripides, Helen, Aeschylus, and Agamemnon) and then 
celebrate particular styles of music (The Judgment of Paris Opera
by John Eccles and William Congreve. Marlene Dietrich, and 
Offenbach’s 'La Belle Helene,' a comic opera.) It ties up the whole
in a Baroque inspired comedic opera but presents it from a 
contemporary perspective. The costumes in this show are by designer
Olivera Gajic and are stunningly sexy and appropriate for each 
pastiche period scene. Artistic Director Austin McCormick is also
Sound Designer for the show and the music complements its subject
matter and presentation superbly. Mr McCormick has an extensive 
background in Baroque Court dance and the show is 'informed by the
stage directions of the Baroque Opera 'The Judgment of Paris' (1733)
by John Weaver,' who is considered to be, 'the father of English 
pantomime.' Choreography and dancers, Yeva Glover, Samantha Ernst,
Laura Careless, and feller Davon Rainey (who is 'one of the girls,')
shine as brilliantly as their peroxide hairpieces. The narrative 
touches from actors Seth Numrich and Gioia Marchese take us through
an epic story of lust, love, and tragedy from the first ever beauty
contest, the Greek myth of the Judgment of Paris and its consequences,
to reflections on 'being blonde,' through the ages, all to music, 
comic and other songs, dance and mime. 

This is a production that achieves its many layered intentions, 
building interest from the moment that the audience is admitted. 
Costume changes are onstage and the drop dead gorgeous cast are camping
it up in a corner as we take our seats. Seth Numrich as ringmaster 
gives them all a 'rights warning' after which its darkness, spotlights,
music and a brilliant opening 'can can' with lots of leggy teasing from
the dance line-up. The degree of applause to the opening minutes of the
show is pretty much maintained throughout as we move from Louis XIV 
pastoral interpretations of the Greek classics to the more literal 
enactment of the Trojan wars its origins and consequences, in a pastiche,
French, fin de siecle style. The dancers move expertly and pose sexily 
alone or tastefully arranged as a group and the soundtracks suggest a 
mix of the 1920's, music hall, the folies bergere and the Munroe. Seth
Numrich plays out all the lead male roles in the show with sincerity, 
ingenuousness and some humour. Gioia Marchese as Aphrodite leads the 
easily manipulated mortals a merry dance, obliterating their hopes, 
dreams and loves with the nonchalance of an accomplished Eastern 
European temptress. There are moments of stunning theatrical drama
as the four dancers enact an army, setting sail over a sea of mist 
wafting eerily across the stage, all atmospherically lit. The pastoral
story ends grimly leaving a decided chill in the countryside at which 
point the narrative shifts to reflections on Helen, women, love, lust,
their 'images,' blondes! Samantha Ernst strikes all the right notes, 
whether in her portrayal of Helen of Troy or as an archetypal 'blonde,'
helplessly tossed about by interminable waves of social stereotyping. 
The final apple passing, dance routine, incorporates a visually striking,
hot and expert 'leg show' which seals the approval and final delight of 
the audience. 
5 gold bats

by John C Vassallo