Potato Country

A fusion of music, dance and text, Potato Country has large aspirations, seeking to explore no less than "the Swedish love of melancholy, love of despair and love of life". 

For all this aspiration there's a simplicity to Gunilla Heilborn's choreography that compels; a simple shake of the head generates enough force to replace a thousand words. The group dominates, sharing sentences, blending clothes and attitudes. Repetition and mimicry become dominant motifs in both Heilborn's choreography and Kim Hiorthøy's music, making the moments when individuals break the chain all the more significant.  

An investigation into the Swedish psyche might not appear to be the most fertile ground for humour, but Potato Country has an endearing streak of irony. The company make it clear they are not afraid of appearing ridiculous and it's all achieved with such lightness of touch that it makes the play a delight to watch. 

Often the piece is more about understanding a feeling than an idea and almost inevitably there are moments where the communication between performers and audience breaks down and the emotion is lost. Equally, the sheer range of techniques used sometimes jars, fragmenting the piece. However, when the music, words and movement come together, as in the closing moments of individual discontent and group unity, the effect is beguiling. 

There's a quiet, understated beauty to much of Potato Country, with the triviality of their lives only underpinning this charming quality.