Review: Bounce “Insane In The Brain” at the Peacock Theatre

“A street dance versions of One Flew Over the Cuckoo’s Nest”

Words: David Barros

Bounce’s Insane In The Brain has received a fair bit of prejudice from outspoken archetypal stereotypes on Twitter picking on the ‘street dance’ element of their production (see our blog in the box on the right), but we’re relieved to say that most of the negative comments seem unjustified and ignorant.

We missed the first run of Insane In The Brain in London two years ago, so with this year’s UK tour, expectations of it started with a clean slate. Bounce’s interpretation follows the stage version of Ken Kesey’s book, and not the film, although watching the Jack Nicholson classic on DVD will help you get an understanding of the story: A new patient named Randal Patrick McMurphy is brought into a mental institute, only to find he doesn’t fit in to the regimented process by a controlling Nurse Ratched, so he rebels, encouraging other patients to express themselves, to Ratched’s distaste.

The lines of comparison between Bounce’s production and Kesey’s version is that self expression is expressed through dance, and rivalry is settled by battling.

There’s a certain charm to Insane In The Brain that only Boy Blue’s production of Pied Piper has managed to match in terms of interpreting an original text as a basis of a hip hop theatre production, as demonstrated through the surreal opening routine. Dancers wearing theatrical masks on the front and back of their heads represent the franticness of the mental asylum creating a fantastic illusion making you unsure which way they’re facing, which must have choreographers thinking to themselves: “I wish I thought of that!” With a flurry of stage traffic the costumes come off and you’re in the room with the characters, as they discuss their problems with Nurse Ratched...

Unlike with Into The Hoods and Pied Piper, there is a little dialogue used, and only at the beginning to introduce the characters. The charismatic protagonist, Randal Patrick McMurphy is like a Swedish Will Smith in speech and swagger, although the actress playing Nurse Ratched seem to drag a little when reciting her lines in what isn’t her primary language.

Of course, it’s not so much about the dialogue as it is about the dancing. You don’t need to be a fan of street dance fan to enjoy Insane In The Brain. Even without speech you can still make sense of the narrative, especially if you’ve seen the stage version or the film adaptation (although between each there are subtle differences). Gestures are obvious in describing what message the characters are trying to communicate, not exaggerated. The soundtrack fits perfectly, which is selected to emphasise an emotion or atmosphere, rather than choosing crowd pleasers, showing an eclectic diversity.

While billed as a street dance production, the choreography has a lot of contemporary foundation to it. The dormitory scene, for example, has a frantic contemporary-influenced routine where the dancers have an obsessive compulsion with the size of things and jumping on the beds. Combined with the canon routines and the synchronised lighting, it’s super effective, and without contemporary it wouldn’t have worked the same as it might have using only street choreography.

Darklight scene from Bounce's Insane In The Brain

This doesn’t mean it loses credibility. The fusion of styles means there’s something in it for everyone to enjoy, and the only time it’s cheesy is with the hilarious Flashdance references, which sends out a nudge nudge wink wink to theatre goers that might have seen other West End musical theatre shows. The clever thing is it fits so well with the Insane theme when danced to Maniac.

B-boying is McMurpy’s forte, while the ward guards perform krump routines. It has also adapted to the urban dance scene’s inclusion of house dance too, with a house routine included for good measure.

Electric: Bounce Insane In The Brain

Insane In The Brain was an incredibly enjoyable show that had us feeling good when we left the theatre. It remained loyal to the original text, while not selling out its street dance credentials for mainstream success. Whether a fan of dance or not, it’s a hugely entertaining night out, with plenty of humour, but also darker moments, highlighting that street dance can be taken seriously when it communicates a message.

Enjoy this review? Why not read our review of Boy Blue’s Pied Piper:

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Why you want to see this show:

This mid-show silent movie is just one of the many surprises Insane In The Brain has in store. WARNING: This is a spoiler!