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Online Review – Tamlane

Before arriving at Wadham’s Moser Theatre I knew nothing about the Borderlands fairy tale of Tamlane, a young man captured by the vicious and possessive Faery Queen. Initially sceptical about whether the medium of dance would be the best one through which to learn this dark and romantic story, I was proved wrong by this powerful production.

When he rejects the Queen’s advances, Tamlane is turned into a tree as punishment. Then Margaret (Sarah Thorp) wanders into the forest, they fall in love at first sight and sleep together, until the Faery Queen and discovers them and steals Tamlane back, leaving Margaret alone, bereft and pregnant. Will the lovers be reunited, and will Tamlane ever return to the mortal realm? All will be revealed at the Moser in 7th week.

A ballet with a modern twist, elegant dancing combines with eerie, ethereal music to create a piece which seems to defy genre. Choreographed and composed by students and claiming to be influenced by contemporary, salsa, modern and flamenco, the dancing is traditional in style but is not afraid to surprise, with the incorporation of unexpected moves, such as some sudden gyrating which would not be out of place in the Bridge, producing great effect.

Particular accord must go to Anja Meindhart, who brings out the frightening, seductive and dangerous personality of the Faery Queen with aplomb. We see her manipulate the unwilling Tamlane with glee, pulling him up from the ground with one finger, and his clear discomfort is juxtaposed with her cruel amusement in their very well choreographed dance, which manages to convey itself powerfully as both a fight and a seduction.

The contrast in atmosphere between this scene and Tamlane’s dance with his true love Margaret is tangible. Their joy is infectious, and I felt involved in their romance, such that when the Faery Queen reclaims Tamlane in a fit of jealousy, and we return to the mood of the earlier scene, I felt the injustice, and was able to share the obvious pain of Tamlane and, later, Margaret.

Robert Walport is an excellent Tamlane, with clear facial expressions conveying the mood, helping the story be understood, and some impressive balancing acts and strength.

There is variation in the quality of the Chorus’ dancing, distracting from their potentially effective ensemble scenes, which rely on everyone moving in perfect harmony with each other. However, with a week still to go until performance I am sure that glitches will be ironed out, and the assurance of the principal characters makes up for this.

A problem inherent in story telling through dance is that details get lost in translation, and although I understood the gist, there is danger that the audience may lose interest through simply not knowing what’s going on.

But with programme notes to help out, this should prove conquerable, and the skill and power of the dancing is worth seeing for itself.

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