This show is an absolute triumph! A seamless conjunction of artistry, athleticism, social commentary and storytelling.
The seeds for Mette Ingvartsen’s work, Skatepark, were sown when watching her children skateboarding at their local park. She was reminded of her own experience when roller-skating as a teenager, “that feeling of being on wheels and gliding through space – the flow of movement and the sensation of being able to defy physical laws.”
Now, as an adult observer, she was struck by the discipline and dedication of the skaters, their persistence and commitment, getting back on the deck again and again to master the move, to perfect that flow and fluidity, that freedom. Ingvartsen saw this as a potential metaphor for society, ‘What if a skatepark was a microcosm of the world?’, and she has brilliantly responded to that question with this beautiful Dance-Theatre piece.
The stage is transformed into a municipal-style skate park. A far cry from the anarchistic origins of the 70s skateboarders, who broke into the empty swimming pools of the rich and privileged, to create a new form. The set is sparse, wire building-site barriers, a suggestion of graffiti on corrugated metal, old car tyres, wooden ramps and a metal rail, a clever placement of LED strip lighting to bring colour to this monochromatic urban setting.
There is an inspired pre-show event – Ingvartsen invites young, local skaters to participate in the project and we see them gliding, swooping, whirling across the stage, full of purpose and joy. One sees, first-hand, how this little democracy evolves – the helping hand, the careful avoidance of crashing into each other, the loud appreciation of each other’s skill. There is little formality here – the end of the pre-show merging into the show ‘proper’ as it were, the locals handing over to the professionals on an equal footing.
Characters emerge – the white-faced rock chick, the balletic roller skaters, the punky bass player, the eager little boy. There are young kids and older adolescents, male and female, hipsters and old-skoolers, but no rank is pulled here – there is a hierarchy of skill but always tempered with generosity and care, co-operation in sharing the space, a sense of non-verbal communication. The metaphor sustains – it soon becomes apparent that this is indeed a microcosm of a world, but not our current world, more a world in which kindness, sharing space and appreciation, supporting and assisting the less-able members are the primary values. An idealistic worldview? Maybe, but hey, the kids ARE (al)right! One wonders why skateboarders were ever denounced as a threat to society, with Rudi Giuliani, former Mayor of New York, characterising it as ‘anti-social behaviour and a reckless operation’. Ingvartsen shows us skating is by no means reckless, as we witness the immense care, concentration and focus of these superb artists, dodging, weaving, sliding and swooping around each other in graceful, mesmerising arcs.
The use of an auditory landscape is inspired and guides us through the day-into-night trajectory of the piece. As dusk descends, the booming soundtrack gives way to the soothing swish and whir of wheels on wood. The banging of decks, to accompany a triumphant move, is deftly interwoven into the bass-driven soundtrack. The performers constantly multitask, taking over the thrumming bass guitar, microphones to sing rock and rap, crashing boards take over the beat, leading a glorious chanting, flag-waving procession.
Little stories are constantly emerging, a spontaneous basketball game using tyres for hoops, a competition to see who can ‘olly’ the highest. Masks are often used and create intrigue – hacktivists’ Anonymous masks, the little boys in masks sharing a bag of crisps. I was reminded of Ingvartsen’s Danish heritage and wondered if Hans Christian Andersen had been an inspiration – there is a suggestion of folk-tales, the Pied Piper, a masked figure in a shoulder cloak. An abundance of carefully crafted images invites the audience to create their own narrative arc.
The show culminates in a swirling, whirling-dervish of joy and communion as the performers spin around and around, arms outstretched with a deck in each hand, the metal rail swung around in the style of an Olympic shot-putter, skaters spinning on the spot. The audience rose as one in glorious appreciation. This is an outstanding work and one I could see again and again.
Review by Janette Eddisford
Legend has it skateboarding was born when low waves forced surfers onto the Los Angeles asphalt, where they glided through the streets conquering every new obstacle. Like many forms of boundary-pushing dance, skateboarding has formed its own subculture and community, and has inspired numerous generations to defy limits through self-expression in movement.
First selected as one of the discretionary sports at the 2020 and 2024 Olympic games, skateboarding will be inducted as one of the mandatory sports at the 2028 games in Los Angeles.
Concept & Choreography Mette Ingvartsen
With Damien Delsaux, Manuel Faust, Aline Boas, Mary Pop Wheels, Sam Gelis, Fouad Nafili, Júlia Rúbies Subirós, Thomas Bîrzan, Indreas Kifleyesus, Mathias Thiers, Bob Aertsen, Bo Huyghebaert and local skaters
Sound Design Anne van de Star, Peter Lenaerts
Lighting Design Minna Tiikkainen
Music Felix Kubin, Mord Records, Why the eye, sonaBLAST! Records, Rrose, The Fanny Pads, Restive Plaggona
Dramaturgy Bojana Cvejić
Costumes Jennifer Defays
Scenography Pierre Jambé/Antidote
Technical Design Set Stéphane Thonnard
Construction Set Construction workshop of Théâtre National Bruxelles: Joachim Pochet, Joachim Hesse, Pierre Jardon, Yves Philippaerts, Andrea Messana, Boyd Gates
Technical Direction Hans Meijer
Sound Technicians Milan Van Doren, Yrjänä Rankka, Filip Vilhelmsson
Lighting Technicians Bennert Vancottem, Jan-Simon De Lille, Sil Verdickt
SKATEPARK
Sadler’s Wells East
10 to 12 April 2025
