Theatrex Asia

Velocity, where narratives are non-existent, leaving a concept of speed in movement in the dance space. In Taiwanese dance writer Zhou Zhi-Mu’s ( 鄒之牧) words in her nomination statement for the group in the 2008 Taishin Arts Award (as translated): the work has departed from the traditional narrative structure of dance, boldly using a concept as a hinge to creation, through the use of theatre design, fusing with concept and body, formulating a feast of abstract and realistic images.

There is no fair review in this world, for it is written by a biased individual, with his/her own aesthetic taste. To review Singapore theatre company Theatreworks Artistic Director Ong Keng Sen’s newest work-in-progress Red Ballerina as a non-event is in itself an uneventful endeavour. For I would be totally missing the point by going on to talk about the execution of the work by actors Karen Tan and Lim Kay Tong. How could I review a work-in-progress? It is not even completed yet. But the performance was presented to an audience, quite many of us actually, not to mention a performance run over the next one or two days. The work spoke to us. To respond to it seems fair.

In late 1993, when Lt. General Romeo Dallaire received the call to serve as force commander of the UN mission to Rwanda, he thought he was heading off to Africa to help two warring parties achieve a peace both sides wanted. Instead, he and members of his small international force were caught up in a vortex of civil war and genocide. Dallaire left Rwanda a broken man, disillusioned, suicidal, and determined to tell his story. This is his story.