Rites

Margaret Kirk enjoys the movement and questions the theory.

Feature by Margaret Kirk | 07 Aug 2009

To disagree with a work's central argument is not to dislike it. Rites is brutal, technically accomplished, and makes a clear argument about the way in which boys socialise each other. It captures the weird dynamics of childhood, the balance of challenge and compassion that lies behind friendship, and highlights critical moments of growth and conflict. Yet by suggesting that masculinity defines itself, that the impact of the female on the male is minimal, Rites does not fully explain how boys become adolescents.

Beginning with playground games, Rites survives the relationship between father and son - both supportive and repressive - before picturing those long hot summers of friendship and fun. There is much rough handling, with both intimacy and homoeroticism clearly avoided, before a sudden change leaves the boys isolated, maturing at different rates and prone to fighting. After much rough-housing, and some remarkable acts of physical extremity, both emerge victorious, supposedly as men.

Company Chameleon - a duo of two experienced and powerful male performers - handle the material with aplomb. They evince a childishness that underlies their acts of physical bravado, slamming into each other and the floor dramatically, looping actions into painful repetition and detailing the tiny slights and reconcilliations of the playground and family. They build their argument from home to play, in a series of short scenes that sees Anthony Missen and Kevin Turner struggle for dominance and maturity.

The communication between the two men is both moving and sincere. Since the work emerged from their own friendship as well as their research into rituals of manhood, they lend their battles a poignant intimacy as well as a profound resonance. Gradually, through conflict, they resolve and mature. Only rarely does sexuality appear, and then it is a crude parody, with no object or resolution.

Despite the dramatic finale, Rites does not complete the journey. The sense that these are boys playing at being men, effective in the first half as they grow, is not ultimately overcome, and the conclusion is false. Nevertheless, this is great theatre with an admirable desire to communicate a clear opinion.

Until 16 August, 3pm daily. Dance Base (venue 22)

http://www.dancebase.co.uk