Temporal Engineering

Frankly still reeling from Meryl Tankard’s genius Pina Bausch restaging, Kontakthof – Echoes of ’78. Like a blow to the head, but in a good way.

The gimmick of surviving dancers performing alongside archive footage of themselves — and their non-surviving colleagues — from nearly 50 years ago sounds simplistic, perhaps even trite. Hackneyed. Yawn. Seen it all before, right?

Wrong.

Bloody hell. It is so good. Great source material projected across time to become something even better, breathtaking and heartbreaking and ephemeral and astonishing.

Maybe I’ll be more measured when the concussion wears off, but don’t count on it.

Penultimate

I enjoyed Sweet Mambo. It’s entertaining, oh so characteristic, often beautiful. But sad.

Not in the moment, always, exactly. There are landmarks of fun, excitement, hilarity. There’s a lot of yer actual dancing — not always guaranteed in Tanztheater. Beautiful dancers. Gorgeous billowing set. Lovely music. But the abiding impression is just so achingly sad.

Hindsight is tricky. It’s hard to keep track. But I’m almost certain her last piece was more upbeat than this, second to.

Also. Tangentially. I feel like I have seen Cafe Muller more times than I possibly can have. It’s confusing. I’m confused.

Lily & Jane

I watched the hockey show, of course. With a fair bit of eye-rolling at first — it is quite trashy, especially early on — but it won me over. It has heart.

Apparently I’m as much of a sucker for sappy wish fulfilment gay romance targeting disenchanted straight women as— well, the next middle-aged homo, I suppose.

Riddance

It’s cold, everyone’s ill and overworked, and 2025 was pretty dismal in a lot of ways. I shan’t be sorry to see the back of it, tbh.

May the new one be better, y’all.

🥂