Insane in the Brain

The source material would seem to offer all-too-obvious pickings for a choreographer, but Insane in the Brain is a work that is unexpected and incredibly inventive at every turn: bungee-jumping breakdancers convey the horror of electroconvulsive therapy; a patient's OCD patterns become the opening of a heavy beat number; and a wheelchair-bound inmate dances on crutches, challenged on more than one level by the infamous McMurphy.

The jerking, limb-twisting, often startling movements of hip-hop and it's associated forms lend themselves perfectly to portraying the madness - of both patients and inmates - that lies at the heart of One Flew. The adaptation is clever and ambitious, containing just one spoken word scene, which introduces the characters (a good decision, given that the acting skills of the group aren't the best). Fortunately, whatever they lack as actors they more than make up for in dance talent, and through physical movement alone Bounce wonderfully conveys the humour, pathos, frustration - and actual plot - of the story. Moreover, they have fused this together with a stark set, excellent lighting, audience interaction, film and a achingly good soundtrack - including Missy Elliot, Gotan Project and Cypress Hill.

Swedish in origin, Bounce have been bringing street dance to the theatrical stage since the late 90's, and the experience shows. Anyone who still thinks street dance doesn't qualify as a 'serious' dance - or art - need look no further for a convincing corrective lesson.