Art-Music-Fund-Seesaw-leaderboard-ad-970x90-1.jpg
Reviews/Dance/Fringe World Festival

Head-banging synchrony

17 January 2021

Nina Levy is blown away by the powerhouse rock and energy of contemporary dance show Cry Baby.

Cry Baby, Parkin Projects ·
State Theatre Centre of WA, 16 January, 2021 ·

Like any rock ’n’ roll show worth its salt, Cry Baby opens with a blast of drum-driven, guitar-infused, scream-laden sound.

It’s contemporary dance, but not as we know it, as three women in boiler-suits – Celina Hage, Rhiana Katz and Georgia van Gils – strut their stuff, accompanied by Cissi Tsang on electric guitar and Nathan Menage on drums. Created and directed by emerging local independent choreographer Kimberley Parkin, Cry Baby is both a celebration and an affectionate parody of rock stars like Mick Jagger, Janis Joplin, Iggy Pop and Tina Turner.

If you’ve seen Hage, Katz and Gils perform (you may recall that all three appeared in another rock-inspired program, Hofesh in the Yard), you’ll know that each is a powerhouse dancer who crackles with energy on stage. Here the looseness of the mosh-pit meets the articulation of their training, with electric results. Bodies writhe, hair flies, hips vibrate, creating a wild and electric synchrony.

Tsang and Menage respond in kind, revelling in the physicality of the dancers and creating an impressively loud and full sound as they work their way through a medley of rock favourites.

Rhiana Katz delivers a sultry version of the Rolling Stones standard, ‘You Can’t Always Get What You Want’. Photo: Edwin Sitt

There’s a feminist undercurrent, too, in the masculinity of the dancers’ swagger, androgynous in their boiler suits, as well as in the gender imbalance on stage.

An unexpected highlight is Katz’s sultry rendition of “You Can’t Always Get What You Want”. Despite being untrained, she sings with gritty confidence, bravely eyeballing a few individual audience members as she delivers her lines.

Though it’s understandable and, indeed, desirable that there should be some variation in energy level and tone, the change of mood that concludes the work feels anti-climactic. Hage’s staggering solo to the song of the title, which seems to be alluding to the dark side of the genre, is effective but leaves the audience somewhat subdued. The fact that the live band has left the stage exacerbates the feeling that the show that started with a bang has ended with a whimper.

Nonetheless, Cry Baby is a 35-minute head-banging, pelvis-thrusting, tongue-baring treat. Get a ticket for the last show, if you can.

Cry Baby is on in the Courtyard at the State Theatre Centre of WA until 17 January, 2021.

Pictured top: Powerhouse dancers Georgia van Gils, Celina Hage and Rhiana Katz and strut their stuff in ‘Cry Baby’. Photo: Edwin Sitt

Like what you're reading? Support Seesaw.

Author —
Nina Levy

Nina Levy has worked for over a decade as an arts writer and critic. She co-founded Seesaw and has been co-editing the platform since it went live in August 2017. Nina was co-editor of Dance Australia magazine from 2016 to 2019. Nina loves the swings because they take her closer to the sky.

Past Articles

Read Next

  • Two people stand against a black backdrop holding large material puppet figures of a child and a woman holding a book Snot saves the day
    Kids

    Snot saves the day

    25 January 2022

    A puppet show about a child with a big, snotty nose as ridiculous as it sounds, says Kobi Morrison, and the beautiful madness has kids and adults hooked.

    Reading time • 3 minutesTheatre
  • Three performers are on a stage against a backdrop of a giant green star. Two of the performer stand with their arms and legs spread wide while they hold the legs of the third, who is doing a handstand between them Rising stars have it all
    Reviews

    Rising stars have it all

    25 January 2022

    Stardom is an elusive dream, as the cast of ALLSTARS make clear, but David Zampatti sees plenty of evidence to suggest this exciting trio have what it takes.

    Reading time • 5 minutesFringe World Festival
  • Photo: Georgi Ivers A woman stands centre stage, in her underwear, with a cushion strapped to her stomach to mimic pregnancy. She leans back awkwardly from the hips, one arm extended. She is surrounded by elaborately framed photos of herself pulling funny faces. Childbirth stripped bare
    Reviews

    Childbirth stripped bare

    25 January 2022

    A visceral and highly physical story of one woman’s experience of childbirth – in all its guts and glory – The Dirty Mother is a performance that demands to be heard says Claire Trolio.

    Reading time • 5 minutesFringe World Festival

Leave a comment

Cleaver Street Studio

Cleaver Street Studio

Cleaver Street Studio