07/11/2023 - 11/11/2023
CHOREOGRAPHER: TESSA REDMAN
PRODUCER: MADISON CRONIN
Fresh off performances in Melbourne and Sydney, Tessa will present an innocent, raunchy, heartfelt investigation into the ebbs and flows of love within all facets of our lives. A deconstruction of the human heart, a remapping of a young woman’s heightened emotions, a love letter to love. Join her as she dives deep into erotic love, romantic love, jealous love, familiar love, painful love, uncomfortable love, cheesy love.
Inspired by her first-hand experiences of being in love, whether that be through family, friends, crushes, fanfictions, snogs or boybands, Tessa will attempt to experience the manifestation of love within and beyond what is traditionally considered romantic.
Get ready to embark on a journey of falling in love again and again and again.
Winner of the SYNZ Tour Ready Award (New Zealand Fringe Festival)
Winner of the SYNZ Tour Ready Award (New Zealand Fringe 2023)
Best in Fringe Nomination (New Zealand Fringe 2023)
Momentous Movement Nomination (New Zealand Fringe 2023)
Outstanding Solo Performance Nomination (New Zealand Fringe 2023)
Grand Design Nomination (New Zealand Fringe 2023)
DATE: 07 – 11 NOV, 6.30PM
VENUE: BASEMENT THEATRE, STUDIO
PRICE: CHOOSE WHAT YOU PAY
RUNTIME: 55 MINUTES
PERFORMER: TESSA REDMAN
LIGHTING & SET DESIGN: ELEKIS POBLETE-TEIRNEY
SOUND DESIGN: JACKIE JENKINS
SET CONSTRUCTION & PHOTOGRAPHY: TRANTHAM GORDON
Contemporary dance , Dance ,
Medicine for the Heart
Review by Rose Tapsell 08th Nov 2023
I’m gonna be honest, I was apprehensive about going to see a show entitled LOVE/LOVE/LOVE/LOVE/LOVE. Coming fresh out of a painful break up, my heart was preparing to be poked and prodded and maybe even flambéed a little bit.
I am so very glad that as a reviewer I had to go and I couldn’t be a chicken and make up some chicken excuse not to, because this passionate, hilarious, soulful and brilliantly crafted dance work by Tessa Redman (nominated for the Oustanding Solo Performance Award at NZ Fringe 2023) was true medicine for the heart.
Entering the studio space at Basement Theatre we find Redman in an end-stage space, noodling around and warming up, welcoming the audience. She is framed at the back of the stage by floor-to-ceiling panels of a shiny, reflective material. It has the effect of a mirror which turns this show into more-than-a-solo. It’s a duet between Redman and her different LOVE-filled selves. When the audience is lit, which happens a number of times in the show, her dance becomes a trio – we see ourselves in the background of her experience. The reflections on the panels are softened and blurry, fuzzy at the edges, a constant reminder to me of the expansive effect that love can have on our lens on the world.
This mirror surface, combined with the stunning lighting design by Elekis Poblete-Teirney, is one of my favourite aspects of this show. It is so simple but it does so much. It synergizes beautifully with the dewy, tangy, rhythmic, and at times ritualistic sound design created by Jackie Jenkins. Jenkins’ occasional use of 80s synths alongside rousing electronic and classical themes brings in a subtle and aptly nostalgic feeling. Sound, lighting and visual design are stunningly united: they all seem to emanate from Redman’s captivating stage presence – there is nothing in this show that does not belong in it. When Redman dances we have the joy of not only seeing her clear, expressive, liquid-crystal movement from the front: we also get to see the reflection of her back-body. We get a multi-dimensional experience, emblematic of the thematic depth of this show, shooting well-past tired tropes and cliches about love and into those realms of experience that we genuinely can’t describe with words – that we need dance and dancers for.
Redman opens the show with a welcome to the audience, acknowledging mana whenua, and introducing herself and her creative team. Her verbal address is both earnest enough to beckon forth our hearts and irreverent enough to tickle our need for parody around a theme that can so easily descend into melodrama if not held skilfully. With this endearing persona as guide, she takes us on a journey through at least eight specific experiences of LOVE, including: “The Love I feel for men who find me attractive” (which incorporated some of the most relatable clowning I have seen in a while) and “the love I feel for my brother” – which I will not ruin for you by attempting to describe – you just need to see it.
Aside from Redman’s delightful talent as a comedian, and her wonderfully crafted choreography – growing from seed ideas that evolve while maintaining their integrity, teasing themselves out into extrapolations like watching an organism grow – one of the biggest strengths of this show is that it is full of surprises. So much so that I’m hesitant to say much more! Whether you are down in the dumps about love or wrapped up in the thralls of it – go see this show. If you identify as female or you’ve been conditioned/treated as a female throughout your life — high chance you will feel seen!
Copyright © in the review belongs to the reviewer