Choreography & Direction: Daniel Hay-Gordon, Ell Perry, Azara Meghie
There are four ways to approach dance. One – read what it’s all about in the programme then follow every move. Two – watch the first half then read the programme to see if your own interpretation was right (or find out what the hell was going on). Three – ignore the programme notes and make your own narrative. Four – narrative be damned, just let it all wash over you. If you’re in the first category you’ll probably enjoy Thick & Tight’s approach. If you’re in the third or fourth you might find Natural Behaviour somewhat frustrating. Ten short pieces make up the production, strung together with an overarching theme of what’s considered natural vs. unnatural behaviour, in the animal and human world.
There’s a wide variety of interpretations on the theme, the individual sections varying widely from minimalist contemporary dance to pantomimic farce, and between each section a rather long, lacklustre description of what we’re about to see. It’s difficult to work out what the thinking is here – whether it’s about access (audio description, surtitles, house lights up between each piece and a message at the beginning that all performances are relaxed), or if this is a stylistic choice. Either way it rather takes away from the performance which loses any sense of flow.
If you can put this aside there’s much to enjoy. Annie Edwards performs Ode To The Last Nightingale, a graceful solo piece that interprets the calls of endangered birds. Daniel Hay-Gordon and El Perry deliver the gloriously minimalist Two Moths in Real Time which takes its inspiration from Japanese Noh and Kyogen Theatre, and Jahmarley Bachelor is mesmerising in Dust, drawing on Quentin Crisp’s words which describe everything from his dusty bedsit to the abuse he experiences for daring to be different.
While it’s a show with a message, it doesn’t take itself too seriously. Natural Behaviour opens with The One Horseman of the Apocalypse, a satirical take on Trump’s anti-environmental policies, depicting POTUS as a pantomime horse (speaking out of its backside). Flies on a Spaceship Wall is a light-hearted dig at Katy Perry’s recent space exploration. These work less well than the more traditional dance pieces, and dance is dispensed with completely in favour of a couple of puppets for Lesbian Seagull, but as this was Engelbert Humperdinck’s recording of the song for that animated classic Beavis and Butthead Do America this slightly bizarre rendition adds little to the existing material.
Natural Behaviour ends with a spectacularly camp and captivating performance by Luigi Nardone. The Leopard takes inspiration from the florid text and themes of the novel by Giuseppe Tomasi di Lampedusa. Nardone prances cat-like in a gloriously over the top sparkly leopard print catsuit and gold knee high boots (costume by Pam Tait). Some moments are almost burlesque as he pouts and writhes to a bonkers piece of music by Ravel.
While there’s some lovely moments throughout, the disjointed form of Natural Behaviour means it lacks coherence and is over-long. How much of the audio description and explanation of process is really necessary is questionable. While some may find it makes for a more accessible experience, others may find that it frustratingly diverts attention from what’s really important.
Tags: Lowry, Salford, Thick & Tight, Natural Behaviour, Daniel Hay-Gordon, El Perry, Azara Meghie, Annie Edwards, Ode To The Last Nightingale, Two Moths in Real Time, Jahmarley Bachelor, Dust, The One Horseman of the Apocalypse, Flies on a Spaceship Wall, Luigi Nardone, the Leopard, Pam Tait.
Runs until 11 June 2025
The Reviews Hub Score
lacks coherence, disjointed.
