Reviewed by Pamela Watts, Thursday 15th March 2018.
Co-produced by the Adelaide Festival, the performance of XENOS, with Akram Khan dancing his own choreography, is indeed a performance of international significance. Akram Khan captivated his audiences in his premiere Adelaide performance with his sophisticated blend of contemporary dance and classical Indian Kathak style. His charismatic performance began with his first appearance on stage as he displayed his absolute command of dance movement. Khan continued to weave a tapestry of evocative images through his powerful interpretive storytelling, triggering our imagination and empathy with astonishing imagery and powerful soundscapes.
This work touches on war, endurance, and human suffering. To enjoy this work fully I recommend you read the short synopsis in the program that will allow access to the depth of the concepts portrayed. The work explores the myth of Prometheus through the experience of an Indian colonial soldier in World War One. The character is a symbol of all history's forgotten soldiers.
Khan narrates this story through his expressive dance which draws us deeper into the foreboding emotional landscape. From the beginning scene, we note the surreal raked wall over which domestic items are dragged by ropes. This wall becomes the landscape of war through the symbolic use of mud, ropes, a megaphone and Khans body climbing, writhing and falling. The fluidity of scenes creates a sharply moving synthesis of man and nature, war and dislocation, death and rebirth. A startling montage of harshly lit body images reminds us of war, after war, after war. The conclusion, of man returning to earth, is utterly confronting.
The narrative is accelerated by the integration of five magnificent musicians, vocal tracks, soundscapes, razor-sharp lighting, and striking theatrical effects that crystallise the underlying concepts and transcend language. The quality of this work allows individuals to interpret what they are seeing on the stage through their own experiences, and keep them suspended in a place of anticipation.
The set designs, by Mirella Weingarten, skilfully accommodate the musicians and the agility of the choreography, providing a base to give the interpretation to the work. The images created on this set burn into the memory and carry us all through this journey. This work is conceptually brilliant and physically practical for this touring performance.
The lighting design, by Michael Hulls, tears the stage area into poignant sections and lights them with dramatic intent. The power of this work is in the integration of these critical design elements and their astonishing theatrical effects.
Costume design, by Kimie Nakano, reflects the Indian tradition but is reinterpreted for Khan's specific needs for his body language movements and narrative. They are effective and interpretive.
Original music and sound design, by Vincenzo Lamagna, works in a deeply evocative and emotional way, carrying the audience through the narrative and the spaces between when the imagination takes flight.
The dramaturge, Ruth Little, has brought coherence to this scenario, which gathers big ideas and concepts together. Voiceover sections of hauntingly confronting vocals, such as "whose hand will fire", echo in our ears long after the performance ends.
Khan's work is recognised as profoundly moving, effortless, intimate, and epic. His movements have a laser-like quality that moves from unbelievable speed to instant stillness. The execution of his body language is piercing and exquisitely intoxicating to watch. Described by the Financial Times (UK) as an artist "who speaks tremendously of tremendous things", Akram Khan leaves no doubt as to the quality of his international reputation.
This is your last chance to see Khan dance as he retires at the end of this world tour, ending his thirty-year career as a dancer.
Reviewed by Pamela Watts, Thursday 15th March 2018.