Reviews

Recent reviews For Scary Shit

Total Theatre – http://totaltheatre.org.uk/rhiannon-faith-scary-shit/

 

Observer – http://www.theguardian.com/stage/2016/mar/06/giselle-royal-ballet-scary-shit-pleasance-theatre-review

Rhiannon Faith and Maddy Morgan in the ‘goofball’ Scary Shit at the Pleasance, London. Photograph: Tina Remiz Christina Arestis is a splendidly snobbish Bathilde …

London Dance – http://londondance.com/articles/reviews/rhiannon-faith-scary-shit-the-pleasance/

Rhiannon Faith and Maddy Morgan are brave and feisty. Their two- woman, tragi-comic show Scary Shit is one big risky experiment: a pair of close female friends …

Evenind Standard – http://www.standard.co.uk/goingout/theatre/rhiannon-faith-scary-shit-dance-review-essexed-up-version-of-girls-is-bold-brave-and-moving-a3185906.html

Frank, funny and sexually upfront, Rhiannon Faith’s Scary Shit is like an Essex version of Girls, if it was set in Basildon instead of Brooklyn. Faith has a …

Writing About Dance – http://writingaboutdance.com/performance/rhiannon-faith-scary-shit/

Admittedly you might not invite your young children to a show called Scary Shit, but at first glance the brightly-coloured poster of Maddy Morgan and Rhiannon Faith …

 

The Date at Battersea Arts Centre

‘A brave venture this, and hats off to the two dancers whom the choreographer had cajoled/bribed/bamboozled/begged to turn their fledgling romance into material for a piece of dance theatre.

Faith, dressed in a white lab coat over a pink net petticoat, quizzed the pair on the development of their romance. While describing their feelings of doubt, uncertainty, upheaval and joy, Morgan and Johnston danced individually and together, expressing beautifully their taut and tangled emotions.   

Clever lighting effects enhanced the ‘scientific’ input from Faith, explaining how hormones worked together to produce romantic feelings. At times her zany character was outrageously ribald and rude, but always retreated back over any lines she overstepped to keep the pair – and the audience – on track. And there were some wonderful quotes. ‘Love is just one word, you can’t expect it to describe everything!’ pleaded Morgan when trying to convey her mixed emotions to the ‘scientist’. ‘It was all so big and we were so small, I couldn’t see what was going on,’ said Johnston with disarming frankness, as he sought to explain why he hadn’t kept in touch while away.

Of course this wacky experiment predictably came unstuck, with Faith suddenly realising that she was playing with people’s lives for her own gain. Having progressed well in the first three dates, by the fourth the relationship seemed to take a nosedive and real people were getting hurt. Or did it? Was true love even there in the first place? Did the firework images on date five signify that they’d made up and really had fallen in love?

For some reason, even now I still want to know….’

REVIEWED BY CLAIRE COHEN for lONDON DANCE – TUESDAY 10 MARCH 2015

 

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Cloud Dance Festival | Rhiannon Faith: dancingtheatre, Golden Bohemian

Monday, 05 March 2012 23:13

Rhiannon Faith: dancingtheatre, Golden Bohemian

The most stand-out moments of the performance included a beautifully-executed and choreographed solo to the haunting tune Wise Man by Indigo Earth, so beautiful it sent shivers down my spine, also an energetic and intricate contact duet to the rock songs of Horrorshow which dazzled the audience with intricate and death-defying lifts.  I felt a small taint of sadness when this performance ended as I knew that we had just witnessed something special. You should keep an eye on Rhiannon Faith as I am hoping for big things from this company. They certainly deserve it.

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Love Kills at The Place  2011

‘Rhiannon Faith’s Love Kills is basically Skins, on stage. Backed by a live band, eight posing and posturing girls take us on an enjoyable ride through the highs, lows and histrionics of teen love, through simplistic (though not ineffective) choreography, mostly performed in unison to resemble a chorus line of teenage angst. The movement is interspersed with character monologues that are sassy, forthright, sex-obsessed and performed with confidence and conviction by the young cast, who, as in Skins, seemed to be the right age for the subject matter.’

Lyndsey Winship  – Time Out

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Rhiannon Faith: Dancing Theatre
 LOVE KILLS

‘This loud, provocative display of teenage heartache was perhaps, paradoxically, a gentle introduction to the world of contemporary dance, replete with live band (Blur, The Streets, Alanis Morissette etc), clearly defined theme, regular monologues and comic sensibility. The initial surprise of seeing eight performers writhe, scream and tumble their way through numerous love-struck scenarios soon faded and I was impressed with expressiveness of the performance, whether articulating cocky, aggressive sexual assertion, loneliness, or ‘just dumped’ hysteria. The comedy of these episodes was well-judged, sitting beside more earnest physical representations of pain. It was a powerful piece, with an energy and passion befitting its theme, neither neglecting the tragicomedy and absurdity of relationships nor drifting off into the pretentious. As the piece hurtled towards its scissor-slicing, heart-cutting crescendo I was left slightly overwhelmed by the cumulative drama of this spasming, pulsating exploration of the contradictory and hi-octane emotions that whirl round the realm of young love.’

BY JACK DAVIES –  Bellyflop Magazine

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‘Rhiannon Faith: dancingtheatre’s Love kills introduced the harsh realities of relationships experienced by women everyday; ‘he doesn’t love me’, ‘he’s sleeping with his secretary’, and, the old chestnut, ‘it’s not you, it’s me!’ The live band rocked out classics by the likes of Skunk Anansie, the songs reflecting the turmoil expressed in the dancers. I was rocketed between emotions, genuinely feeling and relating to the experiences of the characters, especially during the comforting moments of contact. A particular standout was the bad attitude rude girl, trying to mask her pain with confrontation, flinging her body into space. All they wanted was love.’

Rhian Lewis – The Place

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 ‘Love My Bones’ at The Place 2010 

‘The necessary ingredients for effective dance theatre were liberally scattered across this trio, each combining to create a well balanced, entertaining and satisfyingly diverse programme.   Closest to the complete package was Rhiannon Faith O’Brien’s skittish and entertaining treatise on four women’s quest for love: we had Sarah experiencing the frantic flurry of butterflies at each encounter with a potential Mr Right; Alex, happy with her own solitary sexual fulfilment; Vicky, who marries her perfect cardboard man (a life-sized portrait of Martin Johnson when still playing rugby); and Malvina and Michael, a couple insanely in love, but emotionally unsuited.  Each story was accompanied by a live band playing lyrical rock songs and linked together through narrated text that both explained and philosophised.   An eclectic movement range included intense, emotionally challenging duets and tightly controlled ensemble dances, punctuated by humour.   The five dancers gave engaging performances with Malvina Tam’s outstanding fluid elegance being especially striking.’

Graham Watts – The Critics Circle

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Quirky and audacious, Love my Bones is a riot of sound, movement, drama and comedy determined to recreate the tumultuous, feelings of adolescence in its audience. Evidently a fan of Jason Reitman’s film Juno, choreographer Rhiannon Faith O’Brien borrows much of the soundtrack to create this equally youthful work. Guided by a narrator, four short-skirted girls and a gangly male thrash about the stage exploring their sexuality in time to the cool sound of an on stage band. The choreography is a natty mix of gestural movement punctuated by a sequence of beautiful, emotionally charged duets between Malvina Tam Mei Wah and Michael Barnes. The transfixing duo performs a series of slick lifts.

Jennifer Teale – The Place

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