On a stage populated by gently whirring fans, with a live soundtrack created by a cellist and their electronics, two male contemporary dancers unfurl a 20-minute duet that summons up all the strangeness of a forgotten English seaside town.
In Good Company is a piece created by Joel and Pete with Inky Cloak, staged at The Place in January 2016 as part of Resolution, the venue’s annual, new year festival of short live dance and performance works by emerging artists.
|Dancers||Joel O’Donoghue & PJ Hurst|
|Direction||Daniel Fulvio & Martin Moriarty|
|Lighting design||Joshua Gadsby|
We Raise Our Hands In The Sanctuary [is] a vibrant exploration of nightclub culture in the 1980s. The play moves from the heady days at the start of the decade when black working class music entered the mainstream to the horrors at the end when Aids wiped out many of the scene’s most dynamic figures. It focuses on Michael (Jahvel Hall), an aspirant DJ, and Joseph (Oseloka Obi), a student electrician, as they venture into clubland, represented by Paul (Dean Graham), a predatory promoter, and Brandi (Carl Mullaney), a drag artiste, or, as he terms it, “lip-synching post-structuralist” … The play makes an eloquent plea for communal solidarity in these socially divided, culturally divisive times.
Michael Arditti, Sunday Express
Daniel Fulvio and Martin Moriarty’s We Raise Our Hands in the Sanctuary has emerged from Hatched, the Albany’s artist support and development programme. It’s an impassioned look at black gay culture and the music venues that were the cathedrals of an LGBT generation … Fulvio and Moriarty have turned a spotlight on an important step in the evolution of the British LGBT scene – and the contribution made by black gay people – that is sorely under represented on stage. At its best, it’s a moving tribute to an era.
Tom Wicker, The Stage
Dedicated to ‘all the DJs who have helped our community find liberation on the dancefloor’ theatre group Inky Cloak’s We Raise Our Hands In The Sanctuary is a powerful show, soundtracked by the era’s classic bangers, that explores what happens when two black gay friends decide to start their own clubnight in London’s East End. The play resonates particularly strongly today, an era where queer spaces are disappearing and disappearing fast.
Joe Heaney, Dazed Digital