Choreographer: Jamaal Burkmar
A choreographer with the voice of God, Jamaal Burkmar’s How to Build a Universe is initially an exercise in control in which the unseen narrator coaxes five people into becoming a cohesive unit. With instructions and dance movements determined by Burkmar, the power of an individual to shape the world is one of the many interpretations that could be attributed to this one-hour dance piece, arriving at The Place as part of a short tour.
Staged across six chapters, How to Build a Universe unites five strangers who are simultaneously at the beginning and end of their lives, each coming from a different failed iteration wiped out by an extinction event – something the sinister voice forces them to remember as they adjust to their new setting. Their purpose in this world is to bring their different experiences to bear on the creation of a new place, and while the scale of the universe seems beyond the reach of this piece, there is uniformity and community to build instead.
Burkmar applies an almost military process to the assimilation of the new recruits, first allowing them to retain their individuality, a freedom of expression that is distinct to each performer as they begin their work on “the canvas” and are moved along to “calibration.” Each chapter has its own distinct music and dance style to reflect the excitement and speed of their transformation until in Chapter 3, an industrial vibe brings the desired homogeneity as the group responds to synthesised sounds with clockwork movements.
This early part of the show also showcases Barnaby Booth’s exciting lighting design that blends neon tones with an Edward Hopper-like ultra-realism to create intensive and striking stage pictures, combining particularly well with Andrew Walker’s brightly hued boiler suits in red, orange, electric blue, bright green and hot pink. The layering of coloured light and coloured clothing gives How to Build a Universe a visual impact that exceeds the uneven and dwindling narrative arc.
The later stages of the show are less coherent and certain of what Burkmar ultimately wants this performance to say. The piece toys with debates about humanity’s innate corruption or goodness, places the all-seeing narrator in a position of unease when his own ability to speak comes under scrutiny and starts to look at opportunities for dissent. The latter centres around a character known as Fern who takes longer to follow instruction before eventually defying the speaker altogether, knowing the bodiless voice can do nothing to compel her. Yet, it is a theme that goes nowhere with the God-like choreographer seemingly abandoning their charges and the show’s purpose.
Performed by the consistently impressive Imogen Wright, Alex Gosmore, Haizea Andueza, Fern Grimbley and Pablo Reyero, the final phase of the show introduces a selection of strangers where leaders, control and care emerge within this human group. But stronger in its opening three chapters, Burkmar leaves the audience to make what they will of an evolving universe that seems to abandon its purpose.
Runs until 2 March 2024 and then continues to tour
