Edinburgh Fringe Dance reviews: Apocalipsync | Candlelight: Classic Rock in the Round
Capturing one man’s experience of the pandemic, Apocalipsync is masterclass in physicality and timing finds Scotsman dance critic Kelly Apter in her latest Fringe round-up
Apocalipsync
Assembly Roxy (Venue 139)
★★★★☆
From baking to gardening, the pastimes embraced to endure lockdown were many and varied. For Argentinean performer Luciano Rosso, who had been touring the world with his excellent Fringe show, Un Poyo Rojo, enforced confinement was tough. But rather than perfect his sourdough, Rosso used the time to shape this sparkling solo, capturing one man’s experience of the pandemic.
The news voiceovers of Nicola Sturgeon, Boris Johnson and Donald Trump might trigger unwanted memories, but they do take us right back to those broadcasts. If their tone is serious, it’s the only thing here that is. Rosso is a natural physical comic, whose face and body was built to flex and morph. As his day unfolds, we watch him brush his teeth, make breakfast, get annoyed by noisy neighbours and more, with each movement and facial expression locked to the busy soundscape.
Some moments hit the spot more than others, but watching Rosso lipsync and posture to a range of bird calls is worth the ticket alone. The speed and wit with which he puckers his lips or jerks his head, perfectly synched to each avian cry, is a masterclass in physicality and timing. And while he remains dressed in boxer shorts, dressing gown or towel for most of the performance (a nod to the limited amount of clothes many of us got through during that time), there is a Ru Paul’s Drag Race vibe when Rosso lip-syncs to Mariah Carey’s Emotions. Without a hint of make-up or glamour, he holds us in the palm of his hand as he sashays around the stage and ‘hits’ those incredible high notes.
To be able to take us back to such dark days yet keep everything 100 percent light is a skill in itself, and one Rosso has clearly spent way more than two years honing.
until 24 August
Candlelight: Classic Rock in the Round
★★★☆☆
Dance Base (Venue 22)
The Fringe has a way of introducing you to genres you didn’t know existed, and this is a true case in point. On a stage surrounded by battery-operated candles, two performers bring together the unlikely bedfellows of electric rock violin and contemporary dance. While you’re busy figuring out whether this combination actually works, Christopher Vuk (aka The Blue Violin) and dancer Stefani Chertsova have already started entertaining you – so just go with it.
Both Vuk and Chertsova have versatility running through them from their fingers to their toes. Chertsova switches from contemporary dance to ballet to rock, and even a bit of American hoe-down, without missing a beat, each move as beautifully executed as the last. While Vuk is a dynamic player whose physicality lends itself perfectly to AC/DC's Thunderstruck, Lynyrd Skynyrd's Free Bird, a few hits from Barbie and Footloose, and a gentle rendition of Saint-Saëns' Dying Swan.
Throughout, Vuk talks about his journey from small town America to playing on stage with Paul Simon. The amplification, fake candles and backing track won’t be for everyone, but there’s no denying the talent on stage.
until 24 August
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