[Review] Thick & Tight presents “Tits and Teeth – a retrospective of a dazzling career”

You can't find certain types of performance art everywhere, and that's definitely the case with Thick & Tight (Daniel Hay-Gordon and Eleanor Perry). From pubs to gay bars to performance spaces, they're one of a kind through the work they create, and the community that self-perpetuates from their creative collaborations. It's really something to behold. 

They're in residence at the Shoreditch Town Hall, a barn of a music hall, from 25 until 28 January as part of the London International Mime Festival 2023, with their humbly named show: Tits and Teeth – a retrospective of a dazzling career. And it's a big mistake not to see this show. Fact.

It's a two-hour experience with seven pieces, and they take you everywhere and more. 

They open with Queen Have & Miss Haven't. And yes, the clue is in the cryptic title: Queen Victoria & Dickens' Miss Havisham. The work confirms the way the duo create with Gordon as Havisham and Perry as Victoria. Regardless of subject matter, it feels like they start from exhaustive research, developing into character analysis, onto movement exploration, and then the fun begins. 

The aspects involved are kind of endless: satire, pastiche, lip-synching for your life, historical referencing (of individuals, and the broader related culture), mime, dance, and choreography that is detailed and heavily informed by music visualisation. 

As Havisham and Queen Vic, they're in their element. Gordon's Havisham is damaged and horny, and Perry's Victoria is dark and unhinged. It's a total hoot and harks back to the hyper realised interpretation of silent movies and soap operas. Both are vivid performers, but the eyes and mouths just don't stop exuding. It's fascinating to observe. 

When you watch them, it feels very clear that no one else can do their shtick. And perhaps not, but when you see what they create for others… they're definitely giving themselves a run for their own money. 

Empire, danced by Vidya Patel as Winston Churchill, is a stonker of a piece. A clear political statement. The whole work is underpinned by Patel's brilliant Kathak dancing, dressed as Churchill, moving with purpose and power to the Prodigy's Firestarter. It's so jarring to hear the real-life political propaganda of the present, and previous members of Conservative governments, telling the people what they should think about immigration and integration. Personally, it makes me want to puke. And I'd dare say the majority of audiences feel the same way. Though still a necessary, and ugly topic to address regardless.

Next came Engel – an homage to Marlene Dietrich danced by Edd Arnold. Dietrich had mystique, and so does Arnold… by the bucket load. The work communicates the internal contradiction that Dietrich struggled with, as do most celebrities one imagines being equally enigmatic and troubled – basically the definition of talent. The enigma is communicated in still, 2D poses that catch the downward light – all cheekbones, blonde curls, and mood. The trouble with fame (and being misunderstood) is executed through moshing and thrashing. A tortured soul. Arnold does the job very well and clearly wants to be contemplated until he/she doesn't. Fame is fickle.

Closing the first half is Thick & Tight's collaborative piece with Corali Dance Company: Ode to Edith (Sitwell). Described as eccentric, Sitwell is the perfect inspiration for such a piece. A strong character who needs simplicity to frame it best, and this is what Gordon, Perry and Corali have done choreographically. Solo moments range from delicate port de bras to wild, improv in style abandon, and as the group navigate the space they bring Sitwell alive through recorded voice excerpts and idiosyncratic attire – smocks and tulle headpieces confirming Edith's visual presence. It's a well-crafted, considered work that allows for the whole cast to flourish. Some performances are far more confident than when I last saw the piece at the Barbican in January 2022, and you can't go wrong with a closing that suggests provocative, tongue-in-cheek strip teasing with a jazz hand. Hot Diggity!

After the interval the second half begins with Prima, a work focusing on the relationship between Margot Fonteyn and Frederick Ashton or, put more simply, a choreographer and his muse… a ballerina and her creator. Gordon as Ashton is amazing. He acts as a guide for Danny Smith's Fonteyn and it's wonderful to witness. Suggesting, initiating, offering a quiet whisper in the ear. It's totally brilliant work as it precisely depicts the essence of the dynamic between choreographer and muse. Connected, intimate, and (at times unhealthily) co-dependent. This take on the Rose Adage is quite different from the current version being performed at the Royal Opera House, but I'd argue a much more poignant one. And Gordon's Ashtonian cambré wouldn't look out of place in Les Rendezvous. Werk. 

Next follows Ra Ra Rasputin danced by Oxana Panchenko. I've been lucky enough to know Panchenko since the late 90s, both professionally and personally, so I'm a fan already. Her career is a myriad to date, so Gordon & Perry choosing to work with her makes total sense. The solo starts with religious style wizardry and evolves into a Boney M-infused disco – glitter ball included. The movement is intricate and evokes major Gopak flavour with Panchenko performing with a wry half smile, and piercing eyes fixed on the audience throughout. No doubt exactly how the Tzarina felt. There's a big surprise towards the end… but I'll leave it there. 

And closing the show is Cage & Paige: We Could Go On and On. And they do – which isn't a problem. Within the piece they talk about an avant-garde musical between Elaine Paige & John Cage… which is ironic, verging on meta, because to me that's what's actually happening. An avant-garde collaboration by Thick & Tight with two key artistic figures of the 20th century. The earlier suggested, all-encompassing T&T treatment is in full play and it's a joy to watch. Both Gordon and Perry flit between the two protagonists throughout, and they do so with ease and speed. Zero corpsing here. Paige is channelled à la Babs Windsor – all giggles and ego. And Cage as a terribly serious artiste who thinks he doesn't take himself seriously. Both are perfect T&T fodder. The content is broad and uses lots of props very well. The soundtrack is wide-ranging from Cage-esque soundscapes and silence (#4'33) to the musicals Cats and Chess. The movement primarily muses the Cunningham language… obviously. The piece teaches you so much about the individuals and their cultural framework whilst having a right larf. And here's the T&T clincher: you can take the piss when you know what you're talking about because you consequently aren't actually taking the piss. The commentary evolves into rigorous, comic, ironic work. No cheap laughs here. And who doesn't need that in their lives? Contemporary Dance triplets to I Know Him So Well have never felt so right; cross-phrasing natch. Long story short it's the dog's. Well the cat's.

And actually, the whole night is. T&T are doing their thing and don't need any help. However, their working pattern suggests humility, openness, and a desire for collaboration, which only benefits all involved. Their website is an exhaustive resource, info and ethos-wise. I'll leave you with this manifesto: “the company's work is currently and continually investigating a range of LGBTQ+ issues and figures, current queer culture and its link to dance”.

For someone like me, and there are lots of us, that means a huge amount. And we don't take it for granted.

Matthew Paluch( Guest Author )

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers' Teaching Diploma in 2007, and is currently on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011 and has been a freelance writer since 2010. He is a Trustee (2021) of the Royal Academy of Dance and works in the Law Sector.