Auments: Malasombra

The lost or stolen shadow – or the shadow that takes charge of its own destiny – is a common theme in fairy tales, perhaps most famously explored in the Hans Christian Andersen short story ‘The Shadow’. In Malasombra, Spanish company Auments use the obvious (and that’s not necessarily a bad thing) device of shadow theatre to tell the tale of a shadow that decides to decide its own desires and urges.

Using a large screen that fills the back of the stage in Summerhall’s main space, the company create beautiful images: the shadow-catcher, Mister Malasombra, looming over the poor little shadow with his cage; the chase through the forest; the endless line of captured shadow-men filing into the workhouse. The use of scale is lovely, figures morphing in size; the cage and the factory walls shrinking and growing. Alternating with shadow work is projected animation, depicting the forest by day and by night – I particularly like a sweet little owl on a branch. Visual credits go to award-winning Spanish cartoonist Max, who is also credited with the creative idea and dramaturgy of the show.

There is also action in front of the screen – but this is less successful. Choreography between La Chica (The Girl, dressed in a coral-pink pixie outfit) and La Sombra (The Shadow, dressed in head-to-tow black, face veiled) starts nicely, as Shadow and Girl move from being totally entwined to physically separated. But Girl alone then spoils it with a twee little mock-balletic dance. In other sections, movement work is melodramatic but lacking in passion.

The soundtrack is a real mix: from jazz flamenco to psychedelia via spooky Theremin, piano sonatas, and ear-splitting experimental rock. All working well with the visuals. It feels (and I believe is) a show led by visual and sonic (rather than performing) arts. The choreography and mime feels like the least-developed aspect, which is a shame in a word-free show. Performances are variable. The older male performer playing Mister Malasombra has a great physical presence – streets ahead of the two women playing La Chica and La Sombra.

Malasombra is a whimsical and lyrical show for family audiences (not the ‘dark fairy tale for adults’ advertised!), and charming for the most part.

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Dorothy Max Prior

About Dorothy Max Prior

Dorothy Max Prior is the editor of Total Theatre Magazine, and is also a performer, writer, dramaturg and choreographer/director working in theatre, dance, installation and outdoor arts. Much of her work is sited in public spaces or in venues other than regular theatres. She also writes essays and stories, some of which are published and some of which languish in bottom drawers – and she teaches drama, dance and creative non-fiction writing. www.dorothymaxprior.com