Haunted, Daunted and Flaunted.

An empty stage. A chair with a
jacket hanging over it. A microphone. Through the speakers we hear a familiar
announcement which we might have heard earlier on T.V.: “We start tonight with
one of those tragic cases no one can understand. On Saturday, November 15, a
young woman was attacked in the Euston area.” At the crime scene there was a
coat, a chair with a jacket draped over it… and rows of people, all facing in
the same direction. “What follows now is a reconstruction, using actors. We hope it will help you remember
something, anything.”
The opening minute of Wendy
Houston’s Haunted, Daunted and Flaunted immediately sets the tone of her
dance/theatre trilogy. Deadly serious drama that twists itself into comedy.
Funny chit-chat turning into bitter social critique. Nowadays, True and False
have become rather confusing terms.
Remember Wendy’s last appearance
on a Ljubljana stage? At the end of DV8’s Bound to Please, she had a furious
outburst against a guy in the audience who had, quite inconsiderately, taken a picture with a flash. Only when we showed sympathy
with the actress and joined her feelings of indignation did we realise that her
“sincere, spontaneous” reaction was a set-up.
In Haunted, Daunted and Flaunted
Wendy’s words move us from one atmosphere to another. Her
movements travel from character to character. She glides effortlessly between
fantasy and truth, whilst dealing with realities which are deeply affecting and
serious.

Choreographed and performed by Wendy Houston; Lighting design: Steve Munn
& Steve Wald (Daunted); Music: John Avery; Technical management: Steve Wald; Commissioned by the South Bank
Centre; Made with the assistance of The Place Choreodrome, London
Arts Board, Arts Council of England.

In collaboration
with SNG Drama
With the
generous support of The British Council, Slovenia.
Sponsored by British
Airways