by Maddy Costa, 13th, March 2014
Olwen Fouéré's microphone stand is a thing of sculptural beauty. Sinuous and strange, it leans to the right like a tree bending over a river; impeccably lit by Stephen Dodd, the shadow it casts continues the ribbon line that twists across the stage, like a river seen from above. Fouéré's voice has a sculptural beauty, too: it is hard, guttural, atonal, carving out language where others might sing. When she stops speaking and breathes into the microphone, it's like standing at the shore being buffeted by the wind.