An unusual take on the Easter Story – “Golgota” – Bartabas, Andres Marin
Easter is a time when emotions rise up in the Christian heart and it is therefore heartening to know that fresh and imaginative almost but not quite satirical takes on part of the Easter story are showing to sell-out audiences including at Sadlers Wells.
Golgotha signifies the hill on which Jesus Christ was crucified and it additionally was a place of bones and especially skulls so it is particularly dominant in our thoughts around Easter. Golgota (Spanish spelling) at Sadlers Wells between 14 and 21 March entertains in an appropriately serious, sombre, atmospheric, moody, dark, emotional and Christian way though as with any other performance, you will be treated to one or two light moments which make you smile.
Four horses are part of the cast and the stage is covered with a non flammable grey sawdust where all the capers and theatrical and equestrian procedures are played out backed up by live music and singing from Christophe Baska. Candles and incense take a part in the plot – real candles and also battery operated ones. I was a tad disappointed there were not more manoeuvres by the horses but on the plus side they behaved in an entirely theatrically trained manner and even seemed a little docile. There is some delicate dressage style dancing by one of the horses shadowed and mirrored by a man (Marin) dancing close to the horse and another trained to roll over on its side and get back up again with its rider. Yet another rolls in the sawdust to dramatic effect. There is also a cameo performance by a pinto donkey.
Bartabas is a French horse trainer based in the North East of Paris at Zingaro which he founded in the mid 80’s. The origins of using horses in entertainment include the 18th century equestrian centre at Lambeth amphitheatre, but Barnabas does it his own way. At his centre there is a big top, a huge stable block for the horses, and outside, the caravans Barnabas and his crew call home. They first performed at Sadlers Wells in 2011. In Golgotha many aspects and material accompaniments to the church are used including ruff collars, gothic tall black hats, a collection box, candles of various sizes and a little guy who dresses as a chaplain.
Dancer Andres Marin is breathtakingly fit and is the son of Flamenco artists and having trained in Seville, he is also highly experienced in Flamenco himself. His own personal style and aesthetics brings an eye popping nuance to his every move and he introduces unusual tactics dancing with the horses more than once and uses his fingers and feet not to mention his lithe physique to dramatic physical effect.
The story would not be complete without a reference in this review to the interpretation of the crucifixion. An unusual take on featuring Jesus Christ on the cross includes the dancer’s feet being bound with horses’ hooves as he mounts to his precarious position on the back lit cross in an atmosphere of the sincerity of this execution. The stage in any event is sparsely furnished throughout the production – the singing is truly awe inspiring and atmospheric and so are the instruments including a cornet and lute (played by Adrien Mabire and Marc Wolff respectively). Marin uses bells in his fingers on both hands for some of the dancing so the sound pervading the production is an intimate and intricate part of the overall portrayal of the story. There was a standing ovation at the end of the show and clearly it is successful to pioneer and produce new ways of expressing familiar themes.
Penny Nair Price