THE CLASS CLUB

DUCKIE, The Barbican, London, December 2006

Choreographed by Rosie Kay

Performer Middle Class

 “One of the most brilliant, radical shows of the entire year’”

* * * * *  Sunday Express

 

“An exuberant production…What a deliciously decadent night’s theatre it made…  Amid all the performer-led carousing, there is, of course, the unsettling sensation that our own lives, preconceptions and modes of behaviour are the real stars of the evening, that we, as well as the actors, work daily from a script that we probably had no hand in writing. Quite the jolliest, most thought-provoking and, yes, classiest December outing.”

* * * * *  -Fiona Mountford EVENING STANDARD

 

“Workers of the world unite – you have nothing to lose but your inhibitions”

Financial Times

 

“Duckie is one of British theatre’s greatest theatrical treasures’”

The Guardian

 

“Brilliant!’”

Saturday Review, Radio 4

 

“It’s like a duchess farting in public’”

The Observer

“As you might expect of an outfit that started in a Vauxhall pub and became a cult cabaret-cum-theatre company with the mad name of Duckie, this is not your usual Christmas fare”

* * * * Benedict Nightingale THE TIMES

 

“The Duckie Christmas Show has rapidly become one of the most anticipated dates of the season. There are, in fact, three events you may attend with each one being a traditional Christmas dinner party. The middle classes, perhaps the most difficult to define, are treated to lesbian friendly wine in tumblers and waiting staff who talk about Nietzsche and perform poetry. Once again, Duckie has outdone themselves by skilfully employing unconventional comic devices making the participant re-examine their perception, in this instance, of class. The three parties gradually open up into one major event and the performances of the staff never stop, whether waiting table or on the platform.”

The Class Club- THE STAGE

 

 

ASYLUM

 

“Issues of exile and belonging inform the piece, but the focus is on the sharp, expressive virtuosity of its two performers.”

- Judith Mackrell THE GUARDIAN

 

“…Rosie Kay’s ‘Asylum’, a never-to-be forgotten tour de force of physical extremes. With her male companion she sustained the fastest and furiousest “dance fight” imaginable, to mesmerising effect. Rosie Kay is an exceptional dancer, ably partnered by Andreas Decker.”

-Fern Bryant and Peter Grahame Woolf MUSICAL POINTERS on ASYLUM

 

“We all live in hope of spotting a promising young talent headed towards the big time… Yamada and Kay push themselves to the edge. It ends with a ferocious whirling waltz, an acrobatic adagio of pain, want and need.”

-Allen Robertson THE TIMES

 

MARS

 

“I thought her interpretation of the music was fabulous!”

-BALLET.CO.UK on MARS, Birmingham Royal Ballet

 

HONEY YOU’RE A PIG

 

“Rosie Kay whips 30 minutes of dance into soft, perky peaks. Kay is a delight, and her athletic choreography (with strong Merce Cunningham links) feels just right”

- Alice Bain THE GUARDIAN

 

“Rosie Kay brought a magnetic fluidity to her unpredictable jape about domestic discord Honey you’re a Pig”

- Donald Hutera THE TIMES

 

“This is powerful dance with an Almadovar-like sense of the absurd. And possibly the best Spanish-dance-solo-with-an-egg-in-the-mouth you’ll ever see.”

-Ellie Carr THE HERALD

 

“Kay and Yamada are beautiful movers, their long lean bodies a joy to watch, the choreography fluid and inspired”

-Kelly Apter THE SCOTSMAN

 

SAY IT QUIETLY

 

“Her (Rosie Kay’s) movement vocabulary makes astute, sometimes humorous use of classical gambits, spiked with inventive contemporary twists and the sheer dynamic of her own charisma as a performer.  Stunning: clever and immensely watchable.“

-Mary Brennan, THE HERALD