Review: Myth

Sidi Larbi Cherkaoui's Myth, photo by Laurent Philippe

It doesn’t take long after the curtain lifts up to realize that Sidi Larbi Cherkaoui’s Myth is a massive production. The Danse Danse season opener by Belgian company Toneelhuis benefits from a colossal set recreating a luxurious study. Above the book cases, seven musicians perform live as they look down on a cast of fourteen actor-dancers.

The detailed set is full of small, inconspicuous doors through which a number of dancers dressed in black can discreetly and ingeniously enter or exit. Luckily for them, since these black figures appear as a number of playful ghosts that torment the characters. These characters, much like in Luis Buà±uel’s The Exterminating Angel, are seemingly unable to leave the study despite the giant doors, maybe because they are prevented from doing so by the black figures that stand against them.

These black ghosts are often the best element in Myth. They multiply the gestures of the characters and consequently heighten the life that every movement exudes. Their complex floor work displays their athleticism. One of the only two female spirits is wearing incredibly long black hair that, in the right position, hides her face. Then, only her feet and hands are left for us to see as she contorts her body in such way that all her limbs appear mingled. One of the characters then treats her body like one would a pile of play dough, in what turns out to be the highlight of the show.

Sidi Larbi Cherkaoui's Myth, photo by Koen Broos

We then move into a tap dancing section that comes out of nowhere. Nonetheless, the variety of styles maintains our interest. There is even a very strong dose of slapstick in Myth, not to mention some “your mama” jokes delivered by a black drag queen. It’s definitely a populist work and, as is usually the case with these, while it’s somewhat entertaining, it never comes close to being truly great because it’s too busy trying to please everyone.

The only thing that might be offensive about Myth is its heavy reliance on clichés. The most blatant one is the bitchy black drag queen previously mentioned, who is just layer upon layer of cliché. There is also the representation of female sexual desire as possession. Or maybe myths are intrinsically clichés? Is Cherkaoui exposing the black drag queen as a myth?

This character almost gets salvaged in the final scene when there is a knock at the doors and they finally open to let in the Jesus figure. It was to be expected. What might be less expected is how all the characters throw themselves at him and are then able to walk out of the prison that was the study. Except for our black drag queen, who was the most intent on getting out of there, but who now simply sits on a chair and waves him out the door as if to say “Whatever, Jesus… See you later!” Ironically, it might just be her moment of redemption.

The very short run of Myth ends tonight at 8pm at Place des arts. Tickets start at 24$ and can be purchased by calling 514.842.2112. For more information on this season of Danse Danse, visit www.dansedanse.net