Mirror Magazine

Mirror Magazine

From illusion to insight
Smriti Daniel ‘walks’ with Iris through various stages from music to movement
The curtain swished close, and for the triumphant cast and crew, it’s obvious that the party has just begun. Men and women in shimmering costumes and exotic make-up dancing uninhibitedly on the stage make for a rather unconventional and enjoyable curtain call and there is no shortage of applause. That they are capable of so much activity, only minutes after the conclusion of what must have been an exhausting two-hour performance, is tribute enough to the very talented Neo Trident ensemble.

The dance drama Iris, tells the story of Anslem, who as a young boy, lived with his mother far away from the hustle and glare of the city lights. His pleasure in nature gives him a childhood that is almost magical in its simplicity and beauty, for many beings from the White Guardian to the spirits of the flowers and animals themselves care for him. Things change however when he comes face to face with Maya, whom some consider the goddess of knowledge and illusion; he is quickly ensnared and begins to slip into a world of depravity and dissatisfaction.

He breaks away completely from his roots when his mother dies, and abandoning his home Anslem makes for the city with its thin veil of glamour. Once there, however, Anslem is plagued with disillusionment and a deep sense of guilt. Despite his attempts to distract himself, he is unable to erase these doubts. Enter Iris, a beautiful woman who forces Anslem to look inwards and face his demons. As they are numerous and rather relentless, it is far from an easy task, and Anslem needs all the help Iris can give him. In the end, Anslem is triumphant and has returned to living a simple life, having found peace within himself.

Udana Dharmapriya, who played the young Anslem, managed to communicate the joyous, open nature his character demanded. The several colourfully attired dancers, who took on the role of flowers, did a very good job with depicting the movement of the flowers as they blossomed and moved in the breeze. Not all the sequences, which featured so many dancers, were as successful however, with some dancers not seeming to have fully got the feel of the movements.

The audience was introduced to many interesting characters, from the goddess of colour to the White guardian. Each of them was given a chance to fully establish themselves on stage, as they showcased their skills. As some of them were difficult to identify, it meant that one had to give up attempting to follow the plot and simply wallow in all the colour and movement. However it was easy enough to pick up the story again after such a sequence.

Some of the dancers despite having very small roles managed to make their presence felt. Ashanthi Silva, for example, in her role as the serpent of logic, used fluidity of movement and expression to make her part one of the most memorable pieces in the whole dance. The scene, in which she appears along with Vinoma Fernando (Maya) as they overwhelm the young Anslem, is brimming over with an oppressive sense of evil.

Ajith Elvitigala, the adult Anslem, was obviously a dancer of a high degree of skill; it’s unfortunate therefore that he did not display this skill all that much in the first part of Iris. Though he acts well and was well suited for the role, one was left feeling a bit dissatisfied. Diana Brohier who plays Iris opposite him certainly looked the part and managed to carry off that almost supernatural element to her character with aplomb.

The entire effect would have been much enhanced however if the two had had slightly more intricate and demanding duets. Colourful costumes and interesting props were amongst the highlights of the dance. Designed by Ayesha Nawagattegama, they utilised an abundance of shimmering materials and light ethereal fabrics for the ‘good guys’ and black with some interesting variants for the ‘bad guys’. Everything from sticks to fans were used with skill and innovation by the group and contributed a great deal to establishing the atmosphere of a particular scene.

The music chosen for the entire programme was practically perfect, adding exponentially to the impact of the story. The dramatic lighting was also noteworthy, though on occasion the spotlight seemed to take a little time to catch up. All in all, I think we can safely consider Iris a successful performance both for the Neo Trident ensemble as well as its director and choreographer - Pabalu Wijegunawardana.

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