Review: Exquisite Noise, The Place

I think of my experience of this show as pre-blurb and post-blurb. Let’s start, contrary-wise, with my understanding after reading the blurb. Eloquently, it explains the show’s aims of using disruption, dissent, defiance, and the power of coming together to show the infringements of freedom of speech globally. Quotes from Marina Abramović and Angela Davis feature in both the ephemera and on stage. Epistemological is mentioned, along with Dam Van Huynh’s tragic childhood backstory fleeing the Vietnam War and eventually settling in the US, and now Hackney. All very worthy, interesting, and well worded.

Sadly, I didn’t read the blurb until after the show, and my pre-blurb experience was quite different. Without the flowery words and clever justifications, another tale unfolds, starting with two dancers in Emma Lyth’s scanty sports attire, who sit on chairs facing each other, slowly leaning in for a kiss in silence for an inordinate amount of time. Do they kiss? I think you know the answer. Instead, they begin to scream into each other’s mouths. I mean, I wouldn’t want to yuck their yum, but we feel a little left out as spectators.

There are moments where we are plunged into darkness and subjected to thrashing heavy metal and screams, and then moments where the strained flopping and squeaking of the dancers’ uncovered bodies on the shiny black floor is the only sound. Seemingly, it’s either too much noise or not enough. The only props are three tyres that are slung around and rolled over for no explained reason; apart from that, it’s more thrashing and flailing.

Microphones are brought on, and the warning of the usher rattles in my already throbbing temples: “Take some earplugs-there is consistent loud noise.” This consistent sound is Ian Tang’s screeching, grinding hellscape, broken up by mechanical scratching and various of the six dancers shouting into the microphones. It’s at this point I wonder if I have done something personally to Van Huynh to make him hate me so.The relentless barrage seems to nudge one towards psychosis – and maybe that’s the point? A punk examination of noise and its power – but for a Friday night it ends up being a rather unpleasant experience.

Visually, the constant lighting changes/strobing (Patricia Roldán Polo) and frantic, repeated, obsessive movements do craft some arresting moments, and the various stages of undress among the dancers keep you awake. But for a piece about coming together and unity, the group choreography is sloppy and out of time despite the dancers throwing themselves body and soul into the show.

I agree that theatre should not always be a plush delight or a posh nap, but most would argue that there should be some sort of awareness of the audience’s comfort level. This piece rambles along with a purpose only the programme can explain; it almost induces auditory and visual hallucinations and a migraine. Maybe that was Van Huynh’s aim all along? But I’m far too subjugated to theorise more, I need a camomile tea and a lie down.

Concept: Dam Van Huynh
Choreography: Dam Van Huynh in collaboration with the performers
Composer: Ian Tang
Lighting Design: Patricia Roldán Polo
Costume Design: Emma Lyth
Sound and Re-lighter: Michael Picknett
Rehearsal Director: Tommaso Petrolo

Exquisite Noise has completed its current run.