SUNNY

In SUNNY, Gat clearly demonstrates great knowledge in all things theatrical. [...] All the right theatrical devices have been used to keep me entertained – great lighting design by Gat and the set of absurd costumes by Thomas Bradley.

Away from the straight axes and representative poses of classical dance, "Sunny" leads the ensemble, which Waltz and Öhman have half-dedicated to the contemporary. [...] One is happy to follow along in the search for this new path.

While the mini ensemble, scantily dressed, showcased their toned and flawless bodies, Paul Vickers entered the stage initially unrecognizable in an elaborate costume. First resembling a moth, then taking on the form of the elephant god Ganesha, he performed a silent transformation in a Kabuki-style manner.

As an audience member, you follow the movements, the steps, and the constantly shifting groupings with interest and focus. [...] The performance of the dancers demonstrates skill and professionalism in execution.

The appeal of the performance lies in how the heterogeneous elements are organized into shifting movement patterns. [...] The dancers maintain clarity throughout the experiment and give "Sunny" a truly unique character.

Emanuel Gat's "Sunny" is being performed at the Volksbühne Berlin by the Staatsballett Berlin. It's definitely worth seeing. [...] It is incredible to witness how the dancers master these vastly different and demanding dance languages (as also demonstrated recently in Alexander Ekman’s Lib and Sharon Eyal’s Strong).

What makes some people happy leaves others indifferent; a life-changing smile cannot be easily reproduced with the same effect, and social utopias don't necessarily lead to a collective rolling up of sleeves, but rather often to the rattling of weapons. What can be shared, however, is the feeling of hope.