Somnole – Dublin Dance Festival – Review
by Frank L.

Somnole – performed at the Project Arts Centre
Somnole choreographed and performed by Boris Charmatz

The stage is entirely empty with the black painted back and side walls exposed. The flooring is also black. From somewhere outside the auditorium, a whistling sound can be heard. It gradually becomes louder. Eventually, Charmatz arrives through the gangway, that the audience itself has entered the auditorium. He is stripped to the waist and barefoot. He is wearing a skirt of probably ten panels, each different, which hang knee-length. There is a resonance of a tribal simplicity about his attire. According to the programme notes, Charmatz is in a somnolent state somewhere between being awake and asleep.

Initially, his movements are quite slow as he writhes on the floor, but gradually the tempo is varied. At all times, he continues his whistling sound, which is distinctive and at times is of familiar tunes. But what mesmerises about Charmatz’s performance is his complete control of every aspect of his bodily movement. Every finger, even every toe, is under his control. This is even so when he inverts himself and his legs, feet and toes are poised in the air and move at his command. At other times, he moves with great rapidity across the entire stage and then suddenly drops to the floor. Similarly, the mood can change abruptly and out of nowhere, the comic is allowed to burst through. At all times, Charmaz is riveting, and the constant whistling is a marvel given the intensity of his physical movement.

The performance is enhanced by the lighting, which varies from the shadowy to intense spotlights on his rapid movements. The result is a fine harmony between the lighting and Charmatz’s movement.

The performance lasts for about an hour, and Charmatz’s complete control of his body, coupled with the constant whistling are unique feat. It is an extraordinary achievement.