“If nine out of ten spoken word pieces are made better by the inclusion of movement,” Melbourne dance critic Chris Boyd wrote at the conclusion of the 2008 Melbourne International Arts Festival, “then nine out of ten movement pieces are turned to stone by the inclusion of the spoken word.”
Boyd’s Law, as I came to think of it, served as the opening salvo in his critique of the festival’s patchy dance theatre line-up, which that year included below average work by Chunky Move, Lucy Guerin, and KAGE. Wendy Houston’s Happy Hour and Desert Island Dances were the most accomplished shows in the increasingly ubiquitous category, but even they wound up proving the first and second clauses of the critic’s dictum, respectively.
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The thrill that one gets from finding the one-in-ten exception to the latter of those clauses is directly proportionate to how often one does so. It almost goes without saying that the thrill is very great indeed.
Matthew Clayfield
Matthew Clayfield is a journalist, critic and screenwriter.
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