When is a theatre truly alive? Is it once audiences flood in, brimming with anticipation, or when the show hits the climactic finale? Or perhaps it’s somewhere in between?
Tegan Jeffrey-Rushton’s Overture pulls the audience behind the curtain, before the theatre doors even open, and offers a glimpse inside those who keep theatre alive.
Traditionally, an overture is the instrumental opening number that transitions the audience from their own lives into the world of the show, setting the mood and tone. Jeffrey-Rushton plays with this transitional concept and blurs the line between the stage and spectator. The performance begins in the lobby of the Eternity Playhouse, and as it progresses, the dancers move through different areas of the Eternity Playhouse. The audience follows them throughout, entering behind the scenes of the venue but also into the story of each character. The entire theatre is the set, with every little detail considered in and between each performance space.
Each dancer expertly delivers their character with striking clarity, in solo scenes as well as ensemble interactions. John the Bartender (Neale Whittaker) shines in the opening bar scene, deftly manipulating glasses and effortlessly undertaking challenging floorwork. Holly Finch eerily embodies the tragic performer archetype as Ginnie the Performer with incredible control, oscillating between the helpless lifelessness of despair and the poised rigidity of a doll. Robert McLean’s moment as Quell the Cleaner is in the utility room, where they reveal the quiet anguish of unrequited love. In this small and confined space, McLean articulates sorrow through each and every movement, expertly commanding the limited space where there is zero room for error. Powerful and authoritative, Helen the Stage Manager (Yukino McHugh) demands both Ginnie the Performer’s and the audiences’ attention, navigating the tiered audience seating with refined agility and command.
The synergy between the characters, performers, choreography and execution is seamless. Jeffery-Rushton’s hypnotic choreographic style, paired with Love Supreme’s deeply evocative score and the dancers’ immense skill, crafts an explosive and undeniably spectacular show. The choreography is precise, emotive and impeccably dynamic. An absolute highlight is when the audience trails the performers through corridors and then suddenly on stage via the wings – the sudden warmth of stage lights along with the swelling soundtrack incite the electric glow every stage performer knows and loves. Overture incites a remarkable synergy between the audience and the set, choreography and performers.
Overture is captivating, passionate and flawless. Intimate, yet bold, it is a masterclass in storytelling without a single word. Jeffrey-Rushton crafts an intimate and inspiring experience enjoyable for all audiences. This is not simply just a dance show – this is a heartfelt love letter to theatre itself. For anyone who has ever been moved by the magic of live performance, Overture offers a profound reminder that the theatre is alive long before the curtain rises.
