Acclaiming Scene Transitions in Sung Im Her’s Performance
It might appear overly modest to praise a theatrical performance for its scene transitions. However, the scene changes orchestrated by South Korean choreographer Sung Im Her in the 2022 production of “Paradise Now!” at the Bush Theatre were not only remarkably creative but also seamlessly matched the satirical tone of playwright Margaret Perry’s work.
In addition to her contributions to theater movement direction, Her’s dance works have explored themes such as the influence of social media and the #MeToo movement in South Korea. She is currently addressing another critical topic, the climate crisis, through her participation in the Southbank Centre’s Kunsty performance series.
Dramatic Opening and Thematic Exploration
Her begins the performance with a solo prologue on an empty stage, silently making her presence felt as she slowly unfolds her body. Starting from a curled position, she stretches and begins to trot along the stage’s edge, illuminated by a harsh grid of light bulbs that symbolize confinement. This personal evolution hints at a broader communal transformation, as Her leaves the stage to a group of six dancers. These performers initially appear overwhelmed by global burdens, transitioning from static positions to expressions of frustrated goals, clustering under a spotlight as if they are lost at sea. Their attire of shirts and slacks draws a visual parallel to polar bears on melting ice floes.
Costume designer Mio Jue has added touches of silver to the dancers’ outfits, enhancing the impression that they are survivors in a post-apocalyptic setting. The group gradually unites to address the overpowering issue of climate change. The performance compellingly advocates for shifting from climate anxiety to cooperative action. The musical score by Husk Husk and Lucy Duncan evolves from an ethereal, hopeful ambiance to a strong, rhythmic pulse that underscores the dancers’ resolve. They march with determination, absorb the impact of physical challenges, and learn collaboratively, with occasional shouts punctuating their movement.
As the dancers raise and then release their arms, the performance communicates a dual message of relinquishing fear and embracing joy. This emotional transition is further accentuated by Young Uk Lee’s lighting design. The performance suggests that it’s time for action: to be proactive yet also to find moments of liberation and joy.
The show concludes with a mysterious coda and maintains a certain aloofness that might seem limiting. However, it largely compensates with a pressing call for communal action, highlighting the resilience of the collective in the face of initial despair.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
