What a challenge it is to put to words the unspeakable, to describe what can only be communicated through experience – you must see this show! Trailblazing siblings, Maitreyah and Kayah Guenther, have created an art piece that can only be described as profound, not just for its depth, but for the intensity of its experience. The inevitability of time and place become evitable as we undergo this encounter with the truest parts of Maitreyah and Kayah’s souls.
Glass Child defied expectations I wasn’t aware I had, biases I silently carried, woven into my existence. The topic of glass children is one shrouded by excessive taboo, often avoided, misunderstood and ill-evaluated. This production did more than just explain the ideas of a glass child, it immersed us into every nuance that formed Maitreyah’s perspective with a visceral attraction. The audience not only knows her shame and her woes, but her joys, her memories, her psyche.
Every word, stutter, and expression was perfectly curated, carefully balancing the line between humaness and artistry; deeply emotional but raucously entertaining. It embraced a metatheatricality that is deeply synonymous with society’s interaction with those who have a disability, particularly those with down syndrome, like Kayah. The audience’s interaction with the work both challenges and reinforces the far too common realities of ableism.
Dance theatre is a difficult genre to effectively breach. Glass Child shows the power movement holds when done correctly. Dance is an extension of our emotional being, our ultimate tool for storytelling, which is incredibly compelling and universal. Though we cannot understand the experiences of Maitreyah and Kayah, every move they make is a gentle plucking on our heartstrings, the writing of a song that we may not sing, but that we may hear.
The entirety of the show’s presentation was flawless. Chloe Ogilvie’s lighting design perfectly complemented Rozina Suliman’s simple set design, awakening the small black box theatre space and bringing a new layer of emotional intimacy. The sound design and composition, by Anna Whittaker, was nothing short of gorgeous. Transitions from eerie soundscapes to the controlled chaos of the movement and dance scenes were seamless, giving the sensation of a heightened reality.
This team flourished with the guidance of Kate Harman and Gavin Webber, the show’s directors and co-creators, who have been long term friends of the Guenthers. The love within this creative team is omnipresent, its tangibility bringing a real sense of magic to the stage, truly making this a joyous piece of theatre.
This show is so important, but moreso, it is a labour of love. It brought a constant stream of tears to my eyes and a tickle in my throat from hearty belly laughs. It brought joy.
