The 90-minute dance show, Voice Noise, showing at Southbank’s Queen Elizabeth Hall is inspired by Anne Carson’s essay The Gender of Sound. She examines the ways in which sound is gendered within Western culture and analyses how, in her view, patriarchal structures have contributed to the marginalisation of women’s voices in the public domain.

The performance examines how women’s voices have been linked to “monstrosity, disorder, and death.” Martens drew inspiration for this piece from a list of the “100 weirdest albums.”  Featuring songs by thirteen, mostly forgotten, female artists from the past century, the twenty-three tracks are unlikely to appeal widely, suggesting that they have been overlooked rather than deliberately silenced.

In stripped down staging, all action occurs on or near a slightly raised, square platform with a black, mirror-like floor reflecting the dancers. The piece opens with the dancers standing in front of microphones at the front of the stage. Initially the volume is so low it is difficult to make out if it is the performance or shuffling in the audience. Gradually the volume increases with all sorts of strange squeaking, guttural and hypnotic sounds.

In the introduction, the dancers tell the audience that one member of the troupe will provide oral explanations, identifying the female artists whose works are featured. This approach enables the dancers to be recognized as distinct individuals, each with her own unique personality.

The performers present both solo and ensemble pieces with impressive control, expression, and integration of face and voice. When they’re not on stage, the others usually sit and watch their friends perform, occasionally turning their attention to the audience. As much of the show is improvised and changes nightly, the cast must interact closely with each other and the music, resulting in a consistently fresh and dynamic experience for the audience.

At times, the dance and music are completely in sync, with the movement responding directly to the rhythm. Whilst at others they form a stark contrast; like Courtney May Robertson’s solo, which is strikingly tense, sharp, and marked by sudden, awkward, twisted, and contorted motions.

The section in the middle, accompanied by Margaret Mary O’Hara’s Not Be Alright, features performers weaving together impressive, interlocking patterns. While their group communication and connection are clear, this moment stands out as one of the rare times when the choreography truly feels unified.

The cast delivers a performance designed to evoke emotions rather than invite analysis, and when paired with the music, a fresh and often quite captivating element comes to life.

4 stars

Reviewed by Nina Gardner.

https://www.southbankcentre.co.uk/whats-on/jan-martens-voice-noise/

This event is finished at Southbank but is on tour throughout Europe.