Bryn Thomas, Lewis Holt and A de la Fe in The Passion of Andrea 2, by Simone Mousset. Photo © Kalene Jeans

REVIEW

Simone Mousset: The Passion of Andrea 2

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Bryn Thomas, Lewis Holt and A de la Fe in The Passion of Andrea 2, by Simone Mousset. Photo © Kalene Jeans
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Part Passion Play, part Monty Python, a performance for a three-in-one trio of characters called Andrea

The Passion of Andrea 2 suggests a (non-existent) prequel. It also nods to that final period in Jesus’ life, when he rode into Jerusalem, was betrayed by Judas, shared a Last Supper, and was crucified, after which he descended into hell only to be resurrected. All this happens, and more, in Luxembourgish choreographer Simone Mousset’s bonkers but brilliant Passion Play.

The Arrival. Wearing wigs and wily moustaches, three Andreas (Lewys Holt, A de la Fe, and Bryn Thomas) suss out their surroundings with toe-taps and craned necks. As if they, like us, suddenly find themselves on another planet in a solar system of suspended beanbags. They greet one another, – ‘Andrea’, ‘Andrea’, ‘Andrea’ – until the stage is an echo chamber of self-affirmations.

The Betrayal. But surely there can be only one Andrea? Brandishing finger-guns, they start shooting each other in the back. The audience, split into three unequal groups, is enjoined to save their chosen Andrea, but our warning shouts amalgamate into a chorus of confusion.

The Supper. Then comes the Last Supper, a more sober affair. Together, the Andreas perform their ‘favourite trio’. Cleaner-than-clean lines meet with deep lunges on the diagonal, in a clear parody of contemporary dance. Now they do the ‘eagle lift’, and now de la Fe breaks out into ‘solo time’, where the exposition of their craft is not lost on us. Take, eat, of their bodies, Mousset seems to say.

The Crucifixion. The play turns dark(ish). Steadily, the ‘favourite trio’ falls apart as their finger-guns turn deadly, each Andrea taking turns to stage increasingly dramatic death sequences – limbs flailing and flailing until, just when you thought he’d danced his last dance, they flail yet again.

The Resurrection. Downstage left, one of the Andreas describes his miraculous rebirth, enacted by sound designer Alberto Ruiz Soler in a refreshingly pedestrian manner. Indeed, the play ends more deadpan than silly, and with more minor ‘Ummming’ and ‘Ahhhing’ than dancing. Still, I leave praying that one day I’ll see The Passion of Andrea 3.

The bottom line: Taking its cue from Monty Python, Mousset’s Passion Play is a holy dance that leaves you praying for more
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The Place Theatre, London, UK
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simonemousset.com

Next on:
13–25.08.2024, Edinburgh, UK

Tour dates: simonemousset.com/calendar-2

Concept & choreography: Simone Mousset
Performers: Lewys Holt, A de la Fe, Bryn Thomas, with Alberto Ruiz Soler
Original cast: Luke Divall, Lewys Holt, Mathis Kleinschnittger, with Alberto Ruiz Soler
Performers for R&D: Amelia Emma Forrest, Nangaline Gomis, Raisa Kröger, Michele Meloni, Andrea Rama, Raoul Riva, Elisabeth Schilling, Davide Sportelli
Sound design: Alberto Ruiz Soler
Set & costume design: Lydia Sonderegger
Lighting design: Alberto Ruiz Soler, Seth Rook Williams
Dramaturgs: Thomas Schaupp, Nikki Tomlinson
Outside eyes: Francesco Mormino (text), Barbara Pierlot (voice)
Production manager: Bryony Byrne
Producer: Jasmine Andrews, in collaboration with Treacle Holasz (lead producer)
Company management: Cathy Modert
Development (France): Les Indépendances
Special thanks to Koen Augustijnen, Orrow Bell, Renelde Pierlot
Production: Simone Mousset Projects; Coproduction: The Place, KLAP Maison pour la danse in Marseille, Les Théâtres de la Ville de Luxembourg, CAPE – Centre des Arts Pluriels Ettelbruck, Escher Theater (for Avignon); Financial support: TROIS C-L – Centre de Création Chorégraphique Luxembourgeois, Fondation Indépendance – Banque Internationale, Fondation ETE, Monodrama Festival; Residencies at: Maison du Portugal – André de Gouveia, Dance City. Simone Mousset Projects is supported by the Ministry of Culture of the Grand-Duchy of Luxembourg. Simone Mousset is associate artist at The Place, and she is supported by the Fondation Cléo Thiberge Edrom.

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