Published By: Adelaide Theatre Guide
Reviewer: Tony Busch
Rating: 5/5 Stars
This piece has been 10 years in the making and two years in development. And it shows. Beautifully conceived, superbly designed and immaculately performed, Vincent is a highlypolished triumph.
The three dancers at times seem to defy gravity to make the complex choreography appear simple. But Melissa Lanham, whose original vision this was, has created some of the most beautiful, fluid and potent movement this reviewer has seen in a long time.
Tobiah Booth-Remmers is Vincent, Michael Smith is his brother Theo, and Chloe Lanham is Psyche, the embodiment of Vincent’s mental anguish. All three dance with such strength and emotion they are riveting.
Whether in solos, duets or the rare trio, their inter-connection never waivers and their precision speaks loudly of many, many hours of development and rehearsal.
The dancers and choreography are more than matched by brilliant set and costume design (courtesy of Daniel Ampuero), some breathtaking lighting (by Phil Lathlean) and a music score (by Sean Tinnion) which I hope will soon be released on CD as I can’t wait to hear it again.
My only criticism is the readings from the letters of Vincent and Theo. They are the victims of poor diction and too much reverb, making them unintelligible at times. I hope this will be remedied before the show is taken to the rest of Australia and the world.
This is dance theatre of the first order and should not be missed.
Published By: Rip It Up
Reviewer: Niki Dahlenburg Rating: 4.5/5 Stars
Whilst contemporary dance can often ostracise audiences unfamiliar with the medium, LissaJane Dance’s Vincent – with its beautifully devised formula of dance, set, sound and lighting – successfully delivers a magical feast for the senses that can be enjoyed and appreciated by all.
Published By: The Clothesline Magazine
Reviewer: Matt Saunders
Rating: 4.5/5 Stars
Odeon Theatre, Wed 9 Mar
A thrilling, masterful, and thoroughly impressive work of contemporary dance, LissaJane
Dance’s Vincent illustrates the inner turmoil of Van Gogh’s struggles with mental illness through movement.
Adelaide’s Tobiah Booth-Remmers stars as the troubled artist, and is joined by Michael Smith as his brother,
Theo, and Chloe Lanham as the embodiment of Van Gogh’s psyche. The story is built around letters between Van Gogh and his brother read in voiceover, but that is mostly secondary to the stunning dance that is central throughout the 60 minutes of the performance.
This is a formidable production, with a large modular stage set that is used to great effect, in addition to complex lighting and audio cues. However, all of that is secondary to the dancing, which is thankfully superb. Feats of strength, grace, and technical agility are constant, with the intensity and difficulty increasing toward the dance’s climax.
The cast’s trio engages in more lifts than I can count, with all dancers fully committed to their roles and movement. Booth-Remmers in particular trembles and shakes when Van Gogh is in the grip of his illness, and both he and Smith engage in dramatic altercations with Lanham’s character in their attempts to free Vincent from his tormentor.
Vincent is a labour of love, premiering at Adelaide Fringe following years of development work by its choreographer, Melissa Lanham, and benefits from impressive lighting, set, costumes and hair/make-up design, in addition to its original score by composer Sean Tinnion, all of which combine to give it production value that feels like a bit of a steal at $30.
I hope Adelaide embraces Vincent, and that its scheduling against Pina Bausch’s Nelken and WOMADelaide won’t discourage audiences from making the effort. This is an opportunity to support a strong new work from a remarkable team of artists.
“What an excellent production. I was so impressed with the wonderful quality in every facet of this production. Congratulations and my very best wishes for your future successes which I am sure are waiting or you in the future” – Lynette Denny
"A high Calibre and stunning performance - there should be more performances such as this for young dancers" - FURY audience feedback 2017
" A most sublime and beautiful work" - Anita Freed Sunshine Coast Council 2017