#ThrowbackThursday FLOW

With our upcoming theatre dance experience IGNIS, exploring and inspired by the powerful and potent qualities of fire, we throwback to the last time Hubert Essakow draped our stage with his beautiful choreography.

Inspired by water, FLOW was an innovative collaboration of dance, design and music. Five dancers with a pioneering collective of artists created a new full length dance experience, staged in the round in an ever-changing waterscape. 

"The ultimate in immersive theatre" 

Independent on Sunday 

Designed by Tom Dixon and composed by Peter Gregson, FLOW explored unique properties and different states of water, to reveal the dynamic relationship of mankind to this essential element, the most valuable of commodities.

"Enjoyably strong on style- a serious, exhilarating collaboration"

The Guardian

 

"Essakow's choreography is stunning"

A Younger Theatre 

 

Performed: 4 - 23 February 2013

Choreographer - Hubert Essakow 

Designer - Tom Dixon

Composer - Peter Gregson

Dancers -  Sonya Cullingford, Daniel Hay-Gordon, Thomasin Gulgec, Simone Muller & Kieran Stoneley

Sound Design - Andy Marlow

Lighting Design - Matthew Eagland

Dramaturg - Dan Ayling

Text - Richard Thomas

Projections - Kitty McMahon

Throwback Thursday: The Last Yankee Arrives in London 1993

Everyone loves a good comeback story, and The Last Yankee was Miller's.  Check out this Review from The Independent in 1993 when this mini-masterpiece made a smash hit at The Young Vic.

 [Zoe Wanamaker and Peter Davison in the 1993 production of "The Last Yankee"]

"HOW would America's founding fathers respond if they could see what posterity has done to their earthly paradise? That is the loaded question Arthur Miller puts in The Last Yankee, and it prompts his best play for a decade. Those who considered Miller a spent force after The Ride Down Mt Morgan must eat their words.

Like much of his late work, it is a guarded, low-key conversation piece sustained by the barest thread of plot. Plot implies that the writer knows what is going to happen. Miller pretends to no such certainty. Dialogue consists of the small change of casual meetings and domestic habit in a seemingly directionless drift, until, in each of the show's four superb performances, it abruptly ignites into powerful feeling, or snaps shut, imprisoning some victim in a verbal gin trap, and bringing the preliminaries into harsh perspective. "