Pan Pa'Tim is the creation writer, director and performer Roberto Castillo, founder of Primate Theatrical Percussion. The company consists of seven performance percussionists - five men and two women. Music, dance and rhythm combine in this highly physical theatrical fantasy. It follows follows the plight of Tim, a percussionist trying to hold down a regular paid job - without his natural desire to create rhythm taking over.

A row of grey corporate-style desks line the back of the stage, bathed in a cold white light. Six of the performers sit behind the desks, like a long row of jars on a shelf. Dressed in the universal uniforms of office workers, they begin a mundane routine of shuffling, stamping and stapling paperwork, answering the phone, taking messages and looking busy whenever the boss glances their way. The difference with this office is that the work clicks, taps and bangs along to a perfectly-timed beat. This is complemented by the high-pitched, staccato vocals of the receptionists - played by Hana Kobayashi and Lorena Perez - which perfectly catch the incessant babble of an office without using a single fully-formed word.

The boredom, frustration and incompetence of individual workers is perfectly conveyed on the faces of the performers as they file, type and catch flies in unison. Enter Tim (Roberto Castillo), late and dishevelled. It isn't long before the sterile rhythm evolves into a seductive salsa beat - which has the workers up on their feet, delivering an irresistible hand-and-body-clapping stomp with a distinct Latin flavour.

As the workers are freed from the mundanity of the corporate machine, they come to life. Hana Kobayashi's discovery of a microphone unleashes a smooth jazz vocal of nonsense sounds and words which capture the moment - and produce a rapture of free-style dance and movement from the rest of the troupe. Warm colours and soft lights bathe the stage as each dancer succumbs to the hypnotic beat created by their bodies, accompanied by exotic-sounding melodies played by Victor Mestas. Even for those who may loathe this kind of theatre, for a brief moment the sheer joy of freedom and creation displayed by such talented performers may give a feeling of being glad to be alive, and remove every ounce of reserve glueing bottom to seat.

Tim moves from job to job trying to keep his natural inclination towards rhythm from getting him into trouble. Dancing is of the highest standard - in fact it's not so much dancing as a physicalisation of thoughts and feelings, expressed through styles touching on mime, salsa, hip hop, funk, tap, ballet and everything in between. Performers are matched in ability and stamina. Omar Amado, Daniel Vargas, Luis Armando Castillo and Tomas Ruiz draw squeals of pleasure. Roberto Castillo is perfect as Tim, the average-guy-Everyman who encapsulates that something special in everyone which is trying to get out. Hana Kobayashi is very entertaining as a Chinese dragon-lady keeping a tight rein on her workers, and as a vain American tourist who doesn't want to pay. Lorena Perez matches the men step-for-step, holding her own in the more challenging segments. Pan Pa'Tim is great entertainment, regardless of age or musical preference - the biggest challenge is to stay sitting down.

Cast Credits: (alpha order): Omar Amando - Worker. Luis Armando Castillo - Boss / Worker. Roberto Castillo - Tim. Hana Kobayashi - Chinese Boss / American Tourist / Worker. Lorena Perez - Worker. Tomas Ruiz - Worker. Daniel Vargas - Worker.

Company Credits: Writer - Roberto Castillo. Director - Roberto Castillo. Musical Director - Victor Mestas. Choreographer - Luis Armando Castillo. Lighting Designer - Alfredo Caldera. Sound Designer - uncredited. Technical Operator - uncredited. Producer - Roberto Castillo. Company - Primate Theatrical Percussion (Venezuela). Website - www.primatepercu.com.

END

(c) Diana Thomas 2009

reviewed Monday 10 August 2009 / New Town Theatre, Edinburgh UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com