Subverting some of the best-loved pieces of classical music, Derrière on a G String is a raucous new comedy dance sensation from choreographer Alfred Taylor-Gaunt (the award-winning The Limit, Vault Festival 2019; Stand and Deliver!, Kings Head Theatre), vocalising life’s first world problems through a hilariously imaginative series of dance and physical theatre sketches.
Following an extensive workshop over the last three years, and a sold-out run at the Tristan Bates Theatre, this fresh and mildly risqué sketch show blends the chaotic with the camp in a salacious smorgasbord of physical feats by a dynamic group of young artists. Reminiscent of the legendary comedic stylings of Laurel and Hardy and Mitchell and Webb, the production aims to broaden the universal appeal of dance through comedy.
Derrière on a G String from Alfred Taylor-Gaunt is at Sadler’s Wells 1st – 4th October 2019.
Derrière on a G String is coming to Sadler’s Wells, what can you tell us about it?
Derrière on a G String is a comedic dance sketch show, without words, for a modern audience. It takes some of the most famous pieces of classical music and subverts tradition through juxtaposing it against witty observations about modern society. More importantly, though, it’s meant to be fun! Our aim is to banish preconceptions about dance being high-brow or pretentious, and to give our audience a genuinely fun night out! It’s cheeky, funny and, occasionally, if you’re lucky, just a little bit saucy. There will definitely be blood, we’re hoping for laughs, and there’s a fair few bottoms as well.
What inspired the creation of Derrière on a G String?
My passion for lovely derrières, of course! To tell the truth, the show, arguably sadly, isn’t really about bottoms at all, and certainly not mine in a G String (sorry fans). The show’s been born out of my lifelong obsession with sketch comedy from Monty Python to Laurel and Hardy, from Fry and Laurie to Mitchell and Webb. Britain has such a rich cultural heritage of fantastic sketch comedy and it has always been incredibly popular; but dance is often side-lined for being too ‘abstract’ or even pretentious. I decided to mix the two and they seem to make a lovely couple.
How has the show being created by an ensemble worked?
The show’s actually been created by a series of ensembles as it’s undergone a rigorous three-year production process, including a sold-out week-long run at the Tristan Bates Theatre – so, you’re not seeing a first draft. That said, this full production does feature some brand-new material! Everyone involved over the years has had their own lasting impact on the show: the current cast have had to watch videos of other performers doing the initial two-day workshop three years ago- just so that this time round they can recreate specific comedic reactions crafted by the original cast.
Creating as an ensemble is the best way to work – it’s so fun and collaborative – and it’s been great to allow the kernels of ideas to develop so organically. We’re just hoping that the audience has half as much fun as we had during the rehearsal process! Strictly speaking, the show isn’t devised as a collective: I ‘write’ each piece, but the creativity of the dancers amplifies it well beyond what it would have been if I dictated every move. But this does mean that despite it being such a group effort and an inherently fun / silly show, a great deal of it does feel very personal to me and laying all that bare in front of an audience can feel more daunting than you might expect for a show of this nature.
A lot of the pieces are essentially taking my anxieties and exaggerating them to the point ridiculousness, to make them less troubling. Kind of like dealing with the boggart in Harry Potter. But I think the problems that come up in the show are very relatable so it’s a welcome tonic to most people, not just to me!
What’s the most difficult thing about combining comedy and dance?
To put it simply, dance is inherently non-verbal, and, without any words, it’s much harder to tell the audience the basic bits they need to know before getting into the joke or the story – so much has to be portrayed through movement and lighting. When I watch narrative dance, I get frustrated if I don’t know what’s happening, or where we’re supposed to be, so a large part of our challenge has been to avoid this trap. It means that I often rely on costumes and props to let the audience know exactly where we are the whole time, hence my undying gratitude to the backstage team – I probably owe them my life, or at least a few drinks.
How does this combination of comedy and dance encourage audiences to come along?
Our unique combination of comedy and dance means that there will be something for everyone, as well as many things you’ve probably never seen before! Most people like to laugh, and sketch comedy remains one of the most enduring and popular ways of making people laugh en masse. Some people like dance, but there’s obviously a preconception that dance productions are highbrow, which this production should certainly dispel! If you like comedy, come along! If you like dance, come along! If you like neither, come along anyway as Derrière promises to be unlike anything you’ve ever seen before!
What would you say to anyone thinking of coming to see Derrière on a G String?
Derrière on a G String is as much for dance novices as it is for dance aficionados. Our main aim is to entertain – we’ll be having a great time on stage, so you may as well come and join the party. Bring your friends, bring your parents, bring your nocturnal brother who hasn’t emerged from his bedroom in three years, bring a date, bring your granny, bring your second cousin three times removed, bring some tissues, bring some money for the bar, and definitely bring your binoculars. Don’t bring your pets, the theatre probably won’t like it.
Main Image: Alfred Taylor-Gaunt By Vicki Rose Evans
