If colour is just a reflection of light
And all colour exists within my eyes
What colour am I?
-Quilt, Colour Me 2014
The Quilt Performing Arts Company has managed to ensnare and delight their patrons yet again with the performance of Colour Me, at the Philip Sherlock Centre for the Creative Arts on Thursday evening. The production is slated to be their debut on the international stage at the Contacting the World festival held in Manchester, England later this summer. Quilt has spent the last half year attempting to raise enough funds for the entire group to make the trip but this close to the festival date, it appears as if their dream may yet remain unrealized.
Compared to previous Quilt shows, Colour Me is brushed with different strokes. Staying inside the lines of their cohesive theme, Quilt has created a design of masterful originality, like watching Michelangelo’s Sistine Chapel take shape from a colour-by-numbers book. The company reflects light of all wavelengths, unhesitatingly digging beyond our superficial appreciation of hue to showcase the way colours colour our world.
Threads of poetry written by Maya Wilkinson (media director) and voiced by Leonie Forbes kept the production tightly woven. Colour Me unfolded like a flower: from seed to shoot and root then blossoming suddenly into an explosively vibrant display.
A few pieces (out of the eleven in total) merit special mention.
Colour Enslavement tackled gender stereotypes like a linebacker, with naked honesty and enough humour to keep the audience comfortable. Pink for Girls, Blue for Boys (led by the charmingly despicable Clarence Peart and Kalia Ellis) was a scathing commentary on the way we sanction masculine and feminine roles. A tad bit literal but perhaps the writer (Odain Murray) decided it was time to do away with metaphors in this particular conversation?
A note must be made of the notable improvement in the group’s technique. The obvious gaps between the ‘dancers’ and everyone else aren’t as obvious anymore.
Pinkish-Red carried on the gender conversation by examining the tide of colours that mark a woman’s life and journey through a cancer that pushed her out of womanly red back to a girlish pink. It was an admirable performance by Joylene Alexander, and the voices of Sonishea McKenzie (crowd favourite, or more specifically, Fabian Thomas favourite), Jasmine Taylor and Tiffany Thompson carried this piece up into the heights of real emotion with their rendition of Laura Mvula’s She.
The trio shines even more spectacularly in True Colours, a performance that garnered a standing ovation after it left the audience breathless.
In Colour Collision, Roxan Weber and Tristan Rodney keep a brisk pace with their sparking chemistry and highly commendable technique to the sounds of Broken Hallelujah (a personal favourite) sung by Clarence Peart and Tiffany Thompson. Perhaps the performance would have benefited from moments of slow choreography as well as fast, but choreographer Tristan Rodney appears to have an illustrious career ahead of him.
Colour Me may have lacked the gut-wrenching emotion of Quilt’s other shows but as Artistic Director Rayon McLean mentioned at the start, this show wasn’t meant to leave the audience sobbing at the end. What they’ve managed to create is a capsule of the human condition that can resonate on local and universal stages. Hopefully they’ll get the chance.
Photo credit (except first and last) to: Aston Cooke, playwright.
Photo credit (first and last) to: Maya Wilkinson, media artist.