Oli Mathiesen’s dance piece The Butterfly Who Flew Into The Rave has been described by this young Māori choreographer as an “acid house remix that screams f**k you to the pandemic.” With it, the Main Hall at Summerhall has been transformed into a pulsating nightclub, where three queer performers achieve something approaching the transcendent through sheer physical endurance.
Mathiesen, alongside co-choreographers Lucy Lynch and Sharvon Mortimer, constructs a relentless feast for the senses—neon lights, techno beats, and bodies moving in total unison. A seamless incorporation of drinking and sweat-wiping into the choreography is an inspired move, acknowledging the corporeal reality of extreme exertion and rave paraphernalia while always maintaining artistic integrity.
What could easily dissolve into chaos in this show is anchored by technical precision throughout. There is a sequence in which dancing around some aerobics steps raises the stakes temporarily, daring audiences to question the boundaries between art and sport. But the ensemble’s complicity creates an electric atmosphere where spectators become co-conspirators, clapping, cheering, and bobbing in collective euphoria.
While the piece succeeds as both nostalgic homage to rave culture and urgent reclamation of communal joy, questions could be posed about its deeper poetic meanings. I sort of missed the butterfly of the title within the fabric of this piece. Also, sorry to say, the piece could be migraine-inducing for the unprepared. But for those burning to surrender to its relentless rhythm, The Butterfly Who Flew Into The Rave offers something a bit special— a celebration of being alive together – for however long or short the life-span of that experience might be.
This post was written by the author in their personal capacity.The opinions expressed in this article are the author’s own and do not reflect the view of The Theatre Times, their staff or collaborators.
This post was written by Duška Radosavljević.
The views expressed here belong to the author and do not necessarily reflect our views and opinions.
