visuals use their own language to simultaneously tell Flatland’s story. The lighting and visual design by TerryandTheCuz and Rob Stewart showcases some of the best work seen here in recent times, giving both boundaries and dimensions to the stage while using shifts between shadows and stark lighting to either emphasise or deemphasise the differences between the various dancers onstage. Projections, meanwhile, cleverly capitalise on the geometric concept of the story, adding both visual excitement and depth to the narrative. The sound design by Stewart, too, is excellent, with its mix of dramatic instrumentals, techno beats and video game sounds giving the story an extremely contemporary and even futuristic feel; yet, the music also never fails to hit the right emotional note.
It is, however, in the way that all these elements come together that Flatland’s beauty lies. In one utterly lovely scene, for instance, the square visits Spaceland, a land of three dimensions. Dancers in flowing white costumes execute ethereal, fluid movements to a throbbing, haunting score, against a hypnotic background of shifting circuit board-like lines, while the square tries in vain to mimic their movements despite its own angles.
It is a scene that doesn’t require any explanation or even understanding of contemporary dance – like the best parts of the show, you simply feel it intensely.
Flatland is currently playing at The Actors Studio @ KuAsh Theatre, Taman Tun Dr Ismail, Kuala Lumpur, at 8.30pm till Dec 14, and at 3pm on Dec 15. Tickets, priced at RM53 (adult) and RM38 (concession) are available at TicketPro (www.tick- etpro.com.my), and at The Actors Studio @ KuAsh, Kuala Lumpur Performing Arts Centre (Kuala Lumpur) and PenangPac @ Straits Quay (Penang). For more information, call 03-4047 9000, e-mail firstname.lastname@example.org or visit www.terryandthecuz.com.