Mayfest 2015 review: Political Mother

Hofesh Shechter’s dance work Political Mother is something of an international cause célèbre that has been touring the globe since it was made in 2010. Like the dance version of Marmite, it also infamously divides audiences into those who love it and rave about it, and those who hate it and walk out early. Both factions were present in the Mayfest audiences, though the lovers far outweighed the haters judging by the rapturous reception. B247’s two reviewers were equally divided.

After seeing Political Mother I woke up next morning with its images streaming through my mind. Dancers appear out of a smoky, indeterminate place – a war zone perhaps, a prison, a sinister political rally. Lighting streams upwards, illuminating a ranting, incomprehensible orator with a giant animal head.

Nothing is explicit. Everything is open to interpretation. Anaesthetised victims move with boneless grace. An embracing couple struggle. The company surge with wild, ferocious energy around the stage. Anger, defiance, conflict and fear take their turn in what is, quite simply, the most powerful and haunting dance-theatre piece I’ve seen in a long time. (WB)

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Just five minutes in to Political Mother I’m looking for an escape route along the aisle of seats. But I can’t escape, because I’m reviewing. I also can’t see to write any legible notes because the stage keeps being plunged into darkness, and I’ve forgotten my earplugs. So it’s hard to write as well because I’ve got my fingers in my ears to stop the flow of blood from my eardrums. This is like heavy metal (I hate heavy metal) meets country dancing on hallucinogenics.

Everything about it is too much: too dark, too loud, too many people on stage, too much ugly jerky movement, too much blinding light, darkness, too many shocks. I don’t know what it’s about, but I have a horrible feeling that the dancers and other people around me do know, and that I am stupid. It’s like a terrible nightmare where marionettes are forced to prance in their pyjamas, at the behest of a concentration-camp guard with dreadlocks and the voice of Sauron, Evil Ruler of Somewhere Horrible. I don’t like horrible dance, I only like nice dance.

Afterwards, and after a double gin and tonic, I say hello to a fellow smoker outside: “Did you like it?” “I was in it. I was one of the drummers. Did you like it?” “Erm. No. I hated it.” “Yeah, that happens quite a lot. Shechter quite likes it when people hate it, as long as they have a strong reaction.” “Do you like it?” “I’ve never seen it. Because I’m in it. But I like being in it because I like smashing the drums to bits. We wear special earplugs.”

I woke up the next day and realised it had incredibly high production values. But I still hated it. (RV)

Political Mother was at  Bristol Old Vic on Tuesday, May 19 & Wednesday, May 20 as part of Mayfest 2015. For more of this year’s Mayfest shows, visit mayfestbristol.co.uk/mayfest2015