Aurelia's Oratorio in Berkeley
Aurelia Thierrée has used the ecclesiastical, usually vocalized oratorio form to physicalize her own religious tribute to her surreal imagination. She uses her mime, dance and acrobatic skills to perform a series of mysterious, quirky fantasies set to an unpredictable score that ranges from chamber music to jazz, all on mostly bare stage with a minimum of props. Her show, conceived for her by her mother, uses three assistants and features works by dancer Jaime Martinez. She is fascinating to watch and he gracefully enacts some bizarre situations. Co-producers Crying Out Loud UK seek to present material that is appealing to audiences of all ages.
From her opening as a contortionist inside three dresser drawers at once to her untimely demise in the sands of an hourglass, she encounters collapsing draperies, a giant ogre, a vicious gnome, and malevolent animals. Her sense of humor and sense of invention are woven tightly into the visual texture of this wordless show. To operate a small set piece she bends a rope and mimes a crank. One skit uses skewed angles and warped perspectives. She lies on the stage deck and pretends to walk across, as though she walked parallel to the Earth's surface. Then she flies a kite, but it stays on the ground and she holds the string from a flying position above the stage
Jaime and she work together on some acts, but his solo pieces continue the theme of altered perceptions with good-natured surprises and persecution by ill-willed inanimate objects. He does amazing stunts as a three-legged man, and his fling with an empty overcoat is amusing. Then it turns comically dark when the coat turns around and tries to strangle him.
This is a great family show, ideal for the season. Aurelia is lithe and energetic. Her focus on the part at hand is lovingly intense, and she presents a strong stage presence. Jaime's modern-dance styles are refreshingly quick and he uses them succinctly to depict the theme and actions of each story. The seventy minute one-act leaves the audience ready for a second act. Seeing more of Ms. Thierrée would be an aesthetically pleasurable treat anytime of the year.
Aurelia's Oratorio continues through January 24 at Berkeley Repertory Theatre, 2015 Addison Street, Berkeley. Tickets ($33 to $71) are available online at www.berkeleyrep.org or by phone at 510.647.2949.
From her opening as a contortionist inside three dresser drawers at once to her untimely demise in the sands of an hourglass, she encounters collapsing draperies, a giant ogre, a vicious gnome, and malevolent animals. Her sense of humor and sense of invention are woven tightly into the visual texture of this wordless show. To operate a small set piece she bends a rope and mimes a crank. One skit uses skewed angles and warped perspectives. She lies on the stage deck and pretends to walk across, as though she walked parallel to the Earth's surface. Then she flies a kite, but it stays on the ground and she holds the string from a flying position above the stage
Jaime and she work together on some acts, but his solo pieces continue the theme of altered perceptions with good-natured surprises and persecution by ill-willed inanimate objects. He does amazing stunts as a three-legged man, and his fling with an empty overcoat is amusing. Then it turns comically dark when the coat turns around and tries to strangle him.
This is a great family show, ideal for the season. Aurelia is lithe and energetic. Her focus on the part at hand is lovingly intense, and she presents a strong stage presence. Jaime's modern-dance styles are refreshingly quick and he uses them succinctly to depict the theme and actions of each story. The seventy minute one-act leaves the audience ready for a second act. Seeing more of Ms. Thierrée would be an aesthetically pleasurable treat anytime of the year.
Aurelia's Oratorio continues through January 24 at Berkeley Repertory Theatre, 2015 Addison Street, Berkeley. Tickets ($33 to $71) are available online at www.berkeleyrep.org or by phone at 510.647.2949.