Drenched | Caetlyn Watson

No props are in sight except for a single couch. 

Across the couch ten dancers are draped in various relaxed positions quietly engaged in conversation.

This is the sight that greets the audience as we make our way to our seats for Caetlyn Watson’s inaugural and once-off only performance of Drenched. Tonight the La Boite Theatre is set up in the round, allowing for an intimacy of what is about to unfold. 

The suspense is palpable. 

Lights out is met with an outburst of deafening applause even before the dancers appear. And then the suspense is broken. The wait is finally over as the stage explodes into life when the entire cast of dancers vigorously enter the performance space!

The audience is drawn into a visual journey that starts off slow and eventually becomes more intense and visceral. Guided by the soundscape, dancers emulate tapping into their individuality using energetic interpretive dance moves. To fully gauge and appreciate each dancer in their entirety is not possible due to the amount of activity taking place. The cast then splits into groups, trios, duos, females, males while the storytelling morphs according to the changes in music, tempo, mood - emotions that hint at playfulness, anguish, enlightenment, love, joy, sadness et al. - is covered in a mere 55 minutes of adrenalin pumping dance. 

The original soundscape is what drives the dancers to move the way they do. Electronic beats interspersed with distinct sounds, sometimes jarring, grating, while other times smooth and steady. Furthermore, the lighting helps to set the tone - bright, glaring, strobe, flickering juxtaposed against softer, gentler effects. The dancers’ emotive movements admirably and dexterously reflect these changes in music and lighting, a commendable tribute to Watson’s creative direction.  

The couch is cleverly utilised as a prop to signal a change of scene, a change of mood. Moved into various locations across the performance space by the dancers without interrupting the momentum of the moment or the flow of the performance. This audience member also felt that the couch, a fixture in most homes, came across as symbolising ‘comfort’ - a safe, welcoming haven to share your deepest emotions and added another dimension to the overall storytelling. 

In this intimate space, we are privy to a range of movements sourced from eclectic dance genres. Although contemporary/hip-hop styles make up the bulk of this ground-breaking show, elements of house, krump, waacking are imaginatively implemented to fully realise and compliment Watson’s emotive choreography. The transitions between the multi genres are expertly devised, a testament to the cast’s repute and experience in spite of their youth. 

An energetic duet signals the end of the show. As the duet reaches their finale, the remaining cast members join them, intertwining their limbs with those of the duo to form a ‘cocoon’ - an evocative display of protecting each other. Almost immediately, the audience is on their feet, clapping profusely, shouting compliments as the cast take their final bow. Watson is visibly overcome with emotion as she is presented with an eye-catching bunch of flowers. The feeling of respect and love for Watson is palpable as her hand-picked cast envelop her yet again while the uproarious applause continues. 

Brisbane was indeed privy to an extraordinary dance performance brought to the stage by a phenomenal dancer/choreographer/director. Such is the magic of performance art that it felt as if this particular choreographer had unwittingly reached inside each dancer, ripped out their ‘soul’, placed it on stage and said, “I give you permission to bare yourself to the audience.’’ 

Drenched is raw, energetic, visceral and moves seamlessly between shades of light and darkness. Using multiple genres of dance styles as a vessel, Drenched is a testament to the strength of teamwork and allowing yourself to place trust in one another. But above all, to believe in the process and let your ‘soul’ guide the way. Each and every one of the cast members deserved a standing ovation of their very own for their expertise in delivery and all round stellar performances.

Drenched is truly a remarkable dance work that exceeded my initial expectations. Kudos to Caetlyn Watson and her team of talented dancers for inviting us to bear witness to this bold, transformative dance performance. 

Writeousness

She was born in bewitching Cape Town, South Africa pre the dismantling of apartheid. In 1980, Charmaine emigrated to Australia (solo) where she embarked on a much anticipated journey of self-discovery and inner reflection. Melbourne became her watering-hole where she later embraced marriage whilst juggling motherhood and an established career. In 1994, the (then) family relocated to the city of the historic Petronas Twin Towers aka Kuala Lumpur, Malaysia. Nearly three years after her arrival in Malaysia, Charmaine was stabbed in a basement car park. The brutal attack resulted in paraplegia. This major turning point in her life greatly influenced her first play "From Table Mountain to Teluk Intan" which was staged in 2000 in Kuala Lumpur, Malaysia and then again at the New York Fringe Festival in 2002. Writing the play proved to be cathartic in that it allowed Charmaine to come to terms with the challenges of being a paraplegic.

In 2007, Charmaine relocated back to Australia.

Given her passion for living life to the fullest, Charmaine believes in nurturing the mind, body and spirit so you'll find her pumping iron at her local gym, swimming to infinity at several pools around Brisbane, checking out the latest in theatre and on the visual art scene, spending time in dark cinemas, and never, never leaves home without a book. Charmaine is continuously nurturing her journey of self-discovery armed with wisdom, insight, patience, humility and gratitude to guide her.

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