The End (2 stars)

This article is from 2019

The End

credit: Richard Perryman

Dull cerebral work-out

Bertrand Lesca and Nasi Voutsas' duet is an archetypal and formulaic choreography that sits self-consciously in the 'high-art' register. Apart from walking around in a circle for an extended period – a strategy that is excessively popular with theatre-makers who are toying with physical theatre tropes – Lesca and Voutsas imagine their future relationship and the gradual decay of the planet, and the universe in a deliberately non-committal manner.

The pairing of the personal and the cosmic is a familiar theatrical routine: their blank, unemotional delivery (the information is relayed through projection) is interrupted by awkward dance routines. It is frustratingly knowing: their future lives are appropriately dismal, with touches of arch-humour and, aside from a generic message that everything ends, it is an inconsequential reflection on the mundane and, in parallel, the massive.

Their choreography has a wry humour – when they imitate the leaps of ballet, their inadequacy gathers laughter – and the exercise in performance has a clean, austere atmosphere that focuses attention on their gestures. Yet there is an overriding sense that there is more interest in the formal elements of the dramaturgy, a display of cleverness that draws in the larger themes only to leave them undeveloped, with no respect for engaging the emotions.

Summerhall, run ended.

The End

  • 2 stars

Bertrand Lesca and Nasi Voutsas In this new piece, Bert and Nasi dance the end of their relationship, imagining what a future without each other might look like. Above the stage and projected onto a screen, two parallel narratives run alongside each other: the end of the Earth and the end of their collaboration. In the…