” Weave’s idiosyncratic humour at the fore. Wonderful ensemble of performers, just an absolute delight. I haven’t laughed so hard in ages. An absolute joy of a show.” Sarah Barton, film maker and media producer.
“…wonder and weirdness, humour and unexpected poignancy”, “creative inspiration you won’t find anywhere else…” “…carnivalesque wonders…” Cameron Woodhead review in the Age.
“One feels suspended in a dream that ebbs and flows through a variety of visceral changing realities”, Suzanne Sandow review from Stage Whispers.
Is it really happening right in front of us, or are we daydreaming?
A unique fusion between Butoh and physical theatre, White Day Dream was the 2016 creation from Weave Movement Theatre. Choreographed by Yumi Umiumare, the work moved between the surreal and the absurd; exploring universal human themes of memory and dreams – their fragility, transience, and power. Like a dream itself, White Day Dream recalled subconscious emotions… where things are at once unexpectedly linked, and disconnected.
Each actor revealed their own self through movement. White plastic bags, the detritus of human existence are transformed by puffs of air, blue light or the actors’ imaginings into balloons, clouds, or restraints.
Everything fleeting and sometimes jarring- snatches of conversation, jokes and groans, faces screaming and laughing. Yet in all this, we sense a deep and unifying current of meaning. White Day Dream succeeded in bewitching audiences.
Weave completed a creative development with Butoh Artist Yumi Umiumare. This culminated in a very well-received work in progress showing at the Brunswick Mechanic’s institute in September, 2016. Weave then received funding from the City of Melbourne, Creative Victoria and the Catalyst Fund to continue the White Day Dream.
The White Day Dream season was performed from 27 October to 6 November 2016 at fortyfivedownstairs.
White Day Dream is supported by the Victorian Government through Creative Victoria.
This project has been assisted by the Australian government through the Department of Communication and the Arts’ Catalyst—Australian Arts and Culture Fund
Supported by the City of Melbourne Arts Grants Program