Without Warning

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​Choreographer - Lizzi Kew Ross
In collaboration with dancers  & musicians
Laura Moody, David Leahy, Lauren Potter
Megan Saunders, Simon Wehrli  Sonia Rafferty, Natasha Lohan
Composer - Natasha Lohan
Lighting Design - Fay Patterson
Dramaturg - Mary Ann Hushlak
Costume Designer- Susan Kulkarni
​Photographer- Peter Anderson

Without Warning

Without Warning is a dance/performance piece devised with the company led by Lizzi Kew Ross,.
Without Warning is performed by four dancers and four musicians. The piece brings together movement, sound and scenography; each strand functioning as an equal, collaborative partner.  The venue is the fourth partner.  The piece can take place in any number of confined spaces. For the audience, confined in the space with the performers, not quite knowing the rules, there is visceral uncertainty. 

Inspiration for Without Warning came from Brian Keenan’s An Evil Cradling, his autobiographical account of four years as a hostage.  That the hostages were shunted from hiding place to hiding place fed into a way of thinking about Without Warning performance sites as part of the greater life of this performance.  Thus, each site links to a next, and, like memory, the movement and sound accumulate and evolve.

Creative Team
Choreographer - Lizzi Kew Ross
Composer - Natasha Lohan
Lighting Design - Fay Patterson
Costume Design - Susan Kulkarni
Dramaturg - Mary Ann Hushlak

Without Warning offers a Residency Programme. Learn more here.
PRESS REVIEWS at OLD VIC TUNNELS 

The Stage: ‘a disturbing, ultimately humane work that leaves a haunting and indelible impression' Neil Norman

Metro:' Kew Ross's exemplary cast, called upon to lug double basses about and belt out operatic tunes while engaged in hard core physical movement, work to draw us into the torment. Keep close to them, - it's a promenade performance- and on offer is a darkly poetic insight into the living nightmare of hostage incarceration' Keith Watson

​Vulgo: 'In the performance, mankind appeared bare, reduced to its most essential without being deprived from compassion.
Involving the audience by the very fact that it became part of the scene, moving around with the performers in an estranged place, the spectatorial participation was heightened in this theatrical production in which emotions were clearly motivational forces able to direct body and mind.' Andrea Grunert
 

I still remember this performance vividly, the high pitched singing actually still rings in my ears.
I cannot think of any another production that stays so well in the psyche or deal with such an ordeal with as much consideration and clarity. The combination of mixed performers, lighting, sound and venue made for a very intense atmosphere. As an audience member my role was unclear, making the feeling of unease also very much real. It took me some time to readjust to the outside streets again.

Lewis, from London
Audience comments,Old Vic Tunnels 2012

Interview with Lizzi Kew Ross

BBC Radio 4 PM Programme January 2012

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