At the Arsenic in Lausanne until November 3, Anglo-American-Swiss choreographer Ruth Childs pushes all the cursors to red with “Fun Times”, a choreographic creation exploring laughter in all its forms, danced, sung and played. As joyful as it is deliciously confusing.
She sees red, Ruth Childs. A bright red, rubicund. Not that of anger, rather that of joy and cabaret. Perhaps also a slightly Luciferian purple, because this show is not without mischief, danced at a sometimes infernal pace to music that could be described as diabolically disturbing. And then it all takes place under a brazier of scarlet spotlights cooked by lighting designer Joana Oliveira.
She announces the color, Ruth Childs. The title of his latest choreographic creation is a program: “Fun Times”. We’re here to laugh. Everything, including dancing, yourself and laughter too. Since we’re talking about hell, let’s say that this show is a divine comedy. And then this red is also – by chance of a premiere incident – that of the blood which flows down the leg of the dancer and choreographer following too much inadvertent rubbing of her knee on the floor, which is immaculate white.
A piece for five performers who are as much moving bodies as musical instruments and clowns, “Fun Times” explores joy in all its states, including the most absurd or the most trivial. From tickling to the pure pleasure of the game, from the hypocritical smile to the most frank burst of laughter.
>> Listen to the interview with Ruth Childs about her creation “Fun Times”:
Patchwork musical
The show barely begins with the sound of an old drum machine when our bearings are blurred: contemporary musical comedy? Choir dance? Operetta in minimalist New York style? Setting in motion a vocal score which could be by Philip Glass, punctuated with “hi!” and “ho!”, “ha!” and “hoo!”. “Fun Times” cites dance steps that we think we saw in “The Wizard of Oz” or “Singin’ in the Rain”, so many pranks and visual traps.
Perched at the top of the stands, composer Stéphane Vecchione fires up all musical material, classical music revisited by a vintage synth, extracts of pop music (Kraftwerk, Donna Summer, Elvis and many others), opera, religious singing , all in a whirlwind of cuts and collages reminiscent of that soon-to-be-obsolete sound of FM when you frantically twist and turn the cursor searching for a radio station.
A confusing spectacle
Great art of copy and paste, just like the movements of the five performers, Ruth Childs, Bryan Campbell, Karine Dahouindji, Cosima Grand and Ha Kyoon Larcher, each, dancing, playing, laughing, crying, bursting from a curtain ( red obviously) which would not be out of place in a stand-up show.
In the end, “Fun Times” is confusing, that’s its goal. Or rather he avoids any straight line to venture onto the side roads of dance and pleasure. If you feel lost, you can always hold on to the curtain and just laugh with this fine company of gentle Dadaists.
Thierry Sartoretti/aq
“Fun Times” by Ruth Childs. With Ruth Childs, Bryan Campbell, Karine Dahouindji, Cosima Grand and Ha Kyoon Larcher. Théâtre Arsenic, Lausanne, until November 3. Then, Swiss Cultural Center, Paris, November 21 and 22, 2024.
Furthermore, Ruth Childs dances solo “Delicate People” from November 8 to 10, 2024 at the Commun in Geneva as part of the Dance first think later Festival.
And finally, still solo, the extraordinary “Blast!” at the German Temple of La Chaux-de-Fonds on November 27 and 28, 2024 as part of the ADN season (Neuchâtel Dance Association)
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