Choreomania (British Youth Music Theatre) at Birmingham Hippodrome Review
Choreomania production image. Photo by David Lindsay
Written by Charis for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Choreomania is a movement-inspired, musical exploration of the 1518 dancing plague in Strasbourg. The piece is stated to draw inspiration from medieval folk music; however, this influence was not apparent in the music. The EDM aspect was also a bizarre choice in attempting to modernise a historic incident. The piece left the audience confused with more questions than answers. It felt like it was still in the idea concept, like an improv piece with no real direction.
The set and the clothes were also a bizarre choice. Clothing-wise it came across that actors were told to wear anything from their personal wardrobes with a heavy leaning on layering. Only the congregation received costumes in the form of purple hoodies adapted to clerical robes. It would not be possible to watch the piece and understand that it was set in medieval times.
There were a few theatre-inspired jokes throughout the piece, such as a reference to ‘how do you solve a problem like Maria’ however, they felt almost forced.
The synchronicity and action of the dancing was impressive, offering a horrific feeling to the movements of the afflicted, which would lend to the piece if more clarity in the rest of the performance was given.
It feels as though the performance was taken from a single line prompt of “the 1518 dancing plague of Strasbourg” however lacks an identity between being an interpretive/ contemporary dance and a true musical theatre play. The songs throughout the piece are often reused, however the two most prevalent are largely repetitions of a singular line; “I’ve got you back and you’ve got mine” repeatedly sang by a family of children in response to the increasing stresses as the severity of the plague rises, and “it doesn’t make sense” in reference to the lies of the church and government. Unfortunately, both pieces lack creativity, and their over-utilisation led them to lose meaning.
Hard-hitting themes are in place in the piece, with the corruption of a government and dishonesty regarding a plague and its treatment being a reference to “party-gate” during the covid epidemic. However, this theme felt under explored, as was the more heavy-handed theme of church corruption and loss of faith due to “indulgences” and inconsistency in the guidance of the church.
The eventual resolution to the plague is left somewhat vague, between either a cheesy “the power of love” answer of hugs or a religious solution of praying for forgiveness at the shrine to Saint Vitus. Writers Evie Press and Evie Atkin stated the plague to be “a mystery with no clear resolution” and that the audience shouldn’t expect to “find out any clear answers here”, however, this offers little satisfaction to the audience, as the piece does not explore the potential causes.
Unfortunately, it came across as disrespectful to utilise a mystery of 1518, with no clear cause, death toll, or resolution, to try to push a modern narrative, especially without a depth of historical research or a clear theatrical direction. Choreomania is certainly an ambitious piece for this young collective but would benefit from more development in its foundations to truly thrive as a piece in the future.
Choreomania played at the Birmingham Hippodrome in August
★★
