dancing; putting to words the stream of consciousness of someone going clubbing (before the drugs kick in) and demonstrating the unheard thumping of one’s footsteps.
Resisting gravity becomes an awkward dance of balance and counter-balancing movements, and Marr uses the little theatre to its full potential as she stumbles through ballet slippers to high heels before eventually giving in to some basic sandals.
Between laughter, I realized that Marr’s clumsy dance movements could tell her story better – and more honestly – than any polished ballet or contemporary dance.
I would recommend her act to anyone who has ever aspired to be a dancer as she has convinced me that we are all exquisite dancers, whether we are waiting for a tram or merely desiring to be touched.
Her ability as a solo performer is exceptional, and she is beautifully complimented by the supportive team – the costume designers as well as sound designer Milo Fisher.
It was a thrill to see such an intimate play! The theatre was cosy yet classical, perfectly accomodating Marr’s personal, theatrical story.
I think everyone can gain from seeing Marr’s play, however they interpret her story.