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Apr. 12th, 2026 09:05 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
skygiantsScorched Earth is described on its website as a piece of dance theater about a detective reopening an Irish cold case, a description which fascinated us so much that we made a second patently absurd decision to once again park in NYC just exactly long enough to see a show before continuing on our multi-state travel.
If you'd forced me to describe what I expected from this show, I would have hazarded something like 'Tana French book, adapted as a ballet?' Not at ALL correct. The cold case is not a mystery, not full of twists: we've got one detective, one suspect, one victim, one piece of land (and one ambiguously metaphorical donkey.) The ninety-minute show begins with a series of projected documents explaining the history of Irish Land Dispute Murders before establishing a more-or-less regular pattern: short interrogation scenes between the detective and the suspect, interspersed with bursts of emotion and memory, some dramatized and some in dance.
Sometimes -- often -- this worked extraordinarily well. The land under dispute is represented, personified, by a dancer in a ghillie suit who slithers in and out of the central interrogation/morgue table* like a giant muppet, or the Swamp Thing and dances a violently romantic duet with the suspect -- and it could have looked so silly, as I'm describing it it sounds silly, and instead it was haunting and evocative, perfectly elucidating the narrative themes of the show while also just being a gripping and powerful piece of performance.
*remarkable piece of set design, that table; afterwards we all agreed it was the hardest-working table in show business
Other times, the balance felt a little off; the dialogue would tell us something and then a duet would be danced and I'd think, well, you didn't need to tell us both ways, one or the other would have worked fine. Or I'd start to admire the dialogue for its spareness in suggesting the complexity of a dynamic -- who's from here, who isn't, who has rights to land, who doesn't, what's worth punishing on behalf of the community, what isn't -- and then it say it again more explicitly and I'd be like, well, okay, but you didn't have to. What I'm saying is that I think the show probably could have been just as powerful at sixty minutes as at ninety minutes. But I wasn't at all unhappy to be there for ninety minutes! I was compelled the whole time! If the show sometimes told me things about the situation more times or more explicitly than I needed to hear them, it did an admirable job of not telling me what to think about them, and trying to decide what I did think about them left me plenty to occupy my mind.
A lot of the creative team seem to have a history with Punch Drunk and have worked on Sleep No More explicitly, and it was interesting for me to compare/contrast -- the style of expressive choreography is notably similar, but Sleep No More is a piece of theater that has almost no dialogue, that draws a lot of its power from being oblique and ambiguous to the point of fault. Finding that exact right point of convergence for dance and theater seems to be an ongoing challenge and point of interest for the people coming out of the Punch Drunk school and I'm very curious to see other explorations of it.
If you'd forced me to describe what I expected from this show, I would have hazarded something like 'Tana French book, adapted as a ballet?' Not at ALL correct. The cold case is not a mystery, not full of twists: we've got one detective, one suspect, one victim, one piece of land (and one ambiguously metaphorical donkey.) The ninety-minute show begins with a series of projected documents explaining the history of Irish Land Dispute Murders before establishing a more-or-less regular pattern: short interrogation scenes between the detective and the suspect, interspersed with bursts of emotion and memory, some dramatized and some in dance.
Sometimes -- often -- this worked extraordinarily well. The land under dispute is represented, personified, by a dancer in a ghillie suit who slithers in and out of the central interrogation/morgue table* like a giant muppet, or the Swamp Thing and dances a violently romantic duet with the suspect -- and it could have looked so silly, as I'm describing it it sounds silly, and instead it was haunting and evocative, perfectly elucidating the narrative themes of the show while also just being a gripping and powerful piece of performance.
*remarkable piece of set design, that table; afterwards we all agreed it was the hardest-working table in show business
Other times, the balance felt a little off; the dialogue would tell us something and then a duet would be danced and I'd think, well, you didn't need to tell us both ways, one or the other would have worked fine. Or I'd start to admire the dialogue for its spareness in suggesting the complexity of a dynamic -- who's from here, who isn't, who has rights to land, who doesn't, what's worth punishing on behalf of the community, what isn't -- and then it say it again more explicitly and I'd be like, well, okay, but you didn't have to. What I'm saying is that I think the show probably could have been just as powerful at sixty minutes as at ninety minutes. But I wasn't at all unhappy to be there for ninety minutes! I was compelled the whole time! If the show sometimes told me things about the situation more times or more explicitly than I needed to hear them, it did an admirable job of not telling me what to think about them, and trying to decide what I did think about them left me plenty to occupy my mind.
A lot of the creative team seem to have a history with Punch Drunk and have worked on Sleep No More explicitly, and it was interesting for me to compare/contrast -- the style of expressive choreography is notably similar, but Sleep No More is a piece of theater that has almost no dialogue, that draws a lot of its power from being oblique and ambiguous to the point of fault. Finding that exact right point of convergence for dance and theater seems to be an ongoing challenge and point of interest for the people coming out of the Punch Drunk school and I'm very curious to see other explorations of it.
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Date: 2026-04-12 04:42 pm (UTC)It actually sounds great.
(Hozier influence y/n?)
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Date: 2026-04-15 12:25 pm (UTC)no subject
Date: 2026-04-17 02:35 am (UTC)no subject
Date: 2026-04-12 05:48 pm (UTC)no subject
Date: 2026-04-15 12:25 pm (UTC)no subject
Date: 2026-04-12 06:44 pm (UTC)Oh, that sounds fascinating! Sadly I'm nowhere near being able to see it, but I'm glad you got the chance.
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Date: 2026-04-15 12:26 pm (UTC)no subject
Date: 2026-04-13 12:41 am (UTC)no subject
Date: 2026-04-15 12:28 pm (UTC)no subject
Date: 2026-04-15 09:40 pm (UTC)no subject
Date: 2026-04-16 12:27 am (UTC)Sounds like it was worth the poor decision!