Skip to main content

Kid_X

Tramway, Glasgow
Four stars

Something is stirring in Dr Lazarus' lab in this hi-tech teenage love story for a digitally enhanced social media age that helps make Take Me Somewhere’s festival of live art and performance a family affair. The far from good doctor has learnt how to play god by extending life through means of a bionic heart transplanted into guinea-pigs like Kid_X, the body-popping, flex-tastic wonder-teen she controls with the over-bearing hand of a scientific genius who’s gone rogue.

Kid_X, however, has other plans, as he stumbles on the acrobat excursions of social media starlet and selfie queen Gabriella, whose dances across the rooftops captures Kid_X’s mechanical heart. What happens next is a purely physical affair in this pumping fusion of sound, vision and bodies in motion, all set to a dancehall dub reggae score created by Mungo’s HiFi sound system alongside rising soul diva Eva Lazarus.

At the flesh and blood centre of this multi-media collaboration between Bassline Circus, the MHz organisation and Feral are a quartet of dynamic performances, with Malick Bright hot-stepping it up as Kid_X and Amanda Attwood as a high-kicking Gabriella. Director Bex Anson has Lazarus herself play the Dr with a wicked-witch-like glee inbetween striking her own poses. Also present is British sign language interpreter Bea Webster, whose integration into the action becomes a little dance in itself.

All of this is played out against a whirlwind of animated graphics, created by a three-way consortium of Once Were Farmers, Beeple and Manifold Garden, and beamed out on designer Dav Bernard’s set of screens in a sense-beguiling panoramic fashion.

Combined, this makes for a high-energy meditation on how technology can harden emotions if not tempered by real live human interaction. This is shown best at the end, when the young audience are invited onstage for a mass dance-off that displays with joyful abandon how collective action can bring people together.

The Herald, June 3rd 2019

Ends



Comments

Popular posts from this blog

Clybourne Park

Adam Smith Theatre, Kirkcaldy Four Stars
It’s a case of whoops, there goes the neighbourhood twice over in Rapture Theatre’s revival of Bruce Norris’ Pulitzer Prize-winning play, which opens in 1959 in the same Chicago suburb where Lorraine Hansberry’s drama, A Raisin in the Sun, which appeared that year, is set. Here, Robin Kingsland’s Russ and his wife Bev, played by Jackie Morrison, are preparing to move out of their now almost empty des-res following a family tragedy.
Unknown to them, the bargain basement price tag has enabled a black family to move in, with Jack Lord’s uptight Karl a self-appointed spokesperson for the entire ‘hood. Russ and Bev’s black maid Francine (Adelaide Obeng) and her husband Albert (Vinta Morgan), meanwhile, bear witness to a barrage of everyday racism. Fast forward half a century, and a white family are trying to buy the same house, albeit with a heap of proposed changes which the black couple representing the block’s now much more diverse community aren’t…

Michael Rother - Sterntaler at 40

"There's so much to do," says an uncharacteristically flustered Michael Rother. The normally unflappably beatific German guitarist, composer and former member of Neu! and Harmonia, who also had a stint in a nascent Kraftwerk, is packing for live dates in Russia and the UK, including this weekend's show at the Queen Margaret Union in Glasgow.
"It has always been my choice to take care of these things myself and not have a manager," he says. "Somehow for me the independent aspect of doing things is really important, but it has its disadvantages."
As well as playing selections from Neu! and Harmonia, the trio he formed with Dieter Moebius and Hans Joachim Roedelius of Cluster, Rother's Glasgow date will see him play a fortieth anniversary rendering of his second solo album, Sterntaler, in full. Rother will be accompanied by guitarist Franz Bargmann and drummer Hans Lampe, the latter of whose musical involvement with Rother dates back to Neu! days, …

Kieran Hurley – Mouthpiece

Things have changed since Kieran Hurley first began writing the play that would become Mouthpiece, which opens at the Traverse Theatre in Edinburgh this weekend. At the time, Hurley was, in his own words, “quite new on the scene.” As a writer and performer, he had already scored hits with Beats and Chalk Farm, two pieces that put him on the map with a new generation of theatre-makers steeped in an equally new wave of grassroots opposition that drew from the iconography of revolutions past. Where Beats looked at the politicisation of 1990s club culture, Chalk Farm, co-written with AJ Taudevin, focused on a teenage boy caught up in the 2011 London riots.
More plays followed. Some, like Heads Up used the same solo story-telling aesthetic to look at an everyday apocalypse. More recently, Square Go, written with Gary McNair, dissected toxic masculinity through a school playground fight.
All the while as Hurley developed as a writer, from new kid on the block to established provocateur, this…