Review: Alias Sideways Rain, Nottingham Playhouse
Sideways Rain presents Alias’ choreographer Guihermo Botelho’s take on the evolution of mankind.
It started with the dancers crossing the stage in a constant flow left to right. They began on all-fours: crawling on hands and knees and scrambling at speed like a troop of monkeys. Then for the barest of moments, one stood erect contemplating those stranded on their backs, before being re-absorbed into the relentless low-level procession.
Set to a score by Mexican composer Fernando Corona, which was as chillingly hypnotic as the endless conveyor belt of movement. The music and movement accelerated, and dancers became more human; entering upright; or breaking into a run and overtaking others.
There were subtle costume changes to project personality on the performers. Small moments became landmarks. A man and woman stopped and exchanged a glance amongst the stream of bodies and the strains of “Sway” were heard. This was brief as they were soon re-submerged in the tide of humanity. Another dramatic moment was when a woman in red moved against the flow.
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In the final sequence, dancers ran spooling out threads behind them filling the stage with lines from wing to wing before one by one losing their clothes, but continuing with a patter of footfalls, until reverting to a crawl as the light faded.
It was a mesmerising piece. The dancers moved tirelessly across the stage with the fluency of athletes and at the point you thought how can they keep this up for an hour, you realised they had done just that, and the cast were all naked!
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