[2012139] Wyrd… with grace

[2012139] Wyrd… with grace

Alexandra Knox @ Holden Street Theatres – The Studio

6:00pm, Thu 15 Mar 2012

The first thing I ask at the ticket office: how is the show’s title pronounced? Apparently, it’s “wired”… but there was enough hesitation before the answer that I suspect maybe that hasn’t been communicated to staff with authority. It was certainly a point of discussion for the handful of us in the queue, anyway.

Into the familiar Studio we go, and the first things of note are the three lanterns hanging from the roof… and the collection (large collection) of lighting gear around the set, along with the odd patterns being projected on the wall. On the floor, in a white dress, lay dancer/choreographer Alexandra Knox; over her body danced a collection of green grid lines projected from above, which immediately brought Glow to mind – though it was hard to tell whether the projected grid was reacting to her movements. I suspect that it didn’t, but – regardless – her predominantly floor-level (and I do mean floor-level… it was mostly elegant stretches and rolling) interactions with the light was far more engaging for me than anything in Proximity.

A change into a red dress for the second piece, which is much more dynamic, yet maintained a sense of flow in Knox’s movements. There’s some gorgeous side lighting creating long, sharp shadows… it’s like Knox (and lighting designer Rodney Bates) know exactly how to win me over. The third piece (this time in baggy mauve top, with some ace black lace pants) has a much more biotic feel – there’s lush projections and contemplative dances around – and with – the lanterns. The piece culminates with Knox curling around a lantern in the centre of an organic image; it’s a really wonderful ending that generates a lovely holistic optimism.

I really enjoyed Wyrd… with grace. Upon reading the programme afterwards, I discovered references to three dreams: dreams of Grace, Strength, and Wisdom. I’m assuming these referred to the three dances within the Wyrd, because they are perfect descriptions of the movements performed within; and they also gel well with the positivity that I carried with me as I left Holden Street (for the last time this festival season). Bravo, Alexandra – you’re on my “must-see” list now.

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