Anastasia Miari reviews Matthew Bourne's Play Without Words and it turns out that when it comes to class divides, actions speak louder.
Prolific contemporary choreographer Matthew Bourne was commissioned by the National Theatre in 2002 to produce an experimental piece of theatre. Now back for a month long run at Sadler’s Wells, Bourne’s foray into theatre is an experiment worth putting up the dough for.
The aptly named Play Without Words does exactly what it says on the proverbial tin. A narrative performed on stage void of any dialogue, it is a testament to the age old adage ‘actions speak louder than words’. In a hinterland between physical theatre and contemporary choreography, Play Without Words is a melding of music, movement and narrative. It is too technical to be described as physical theatre and yet it looks and feels too much like a play to be simply tagged as dance.
Set in the swinging sixties at the height of the British sexual revolution, Play Without Words pokes fun at the waning codes of moral conduct held by the middle classes. A middle class couple move into their new ‘rad pad’ in Chelsea but upon hiring help, they’re tempted away from monogamy. Partner swapping and sexual frustrations are played out to an upbeat jazzy score through renditions of traditional sixties moves. At parties and within the characters’ dreams; they’re all dancing out their wildest fantasies.
Shoring up class divides that were more clearly defined in this period, Bourne emphasizes social hierarchies through movement. Servants are made to dress and undress their masters. Simple and swift removal of a pair of pants provides a tongue in cheek, comedic insight into the lives of the hired help.
Designer Lez Brotherston recreates the culture of cool with a distorted panorama of the London sky line. It indicates that the version of London being played out before us is somewhat zanier than the one we know today. His choice of costume is also noteworthy. Kitten heels, shift dresses and art deco prints paint a collage of bold sixties pop at its best.
A visual feast, Play Without Words is beautiful to watch. Both choreography and design contribute to an aesthetic that represents an era of transformation and revelation. What exactly is being revealed here though, is debatable and its ambiguity is one of the best things about it. 
Play Without Words runs at Sadler's Wells until 5th August
Image by Simon Annand
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