Everybody’s Got a Bomb ★★★★★

The tragic events of Woodstock ‘99 are viscerally depicted in this high-octane dance performance by Australia-based choreographer Riley Fitzgerald. This is a technically impressive show, where Fitzgerald’s precise choreography captures an evening of rage and primal violence. It’s also incredibly human, with its final moments depicting the struggle against conformity.

Everybody’s Got a Bomb is a kaleidoscope physical experience. It captures the events of Woodstock ‘99 – an attempt by concert organisers to capture the spirit of the original Woodstock ‘69. There was a wide variety of genres present; bands ranging from Korn to Metallica to the singer Alanis Morissette all played to crowds of hundreds of thousands.

The festival soon descended into violence—people began breaking parts of the venue and brawling, and at its most tragic, it led to the deaths of three concertgoers. The event shocked the country, not only for its brutality but also for how, as Fitzgerald highlights in the show, everyday people devolved to violent chaos. One reason for the violent turn is that it was a reaction to the conformist society created by 80s post-capitalism—this is also the starting point for the show.

How does a dance show capture these complex dynamics about humanity? Through crafting an atmosphere with movement. The choreography is quite varied. Fitzgerald allows his performers to express themselves using all elements of their bodies. From the use of hair to breathing and a primal scream, the entire human body is utilised as a vessel to convey the slow build over the concert, the slow descent into carnage.

One particularly impressive moment features the fusion of all the dancers into one. They seem to pulse and undulate like a beating heart, following the crests and waves of a heartbeat. With parallels to a mosh pit, the production nails the feeling of being at a punk show. While some productions may lean towards intensifying or sensationalising the violence, Fitzgerald’s interpretative take has restraint.

The lighting design is similarly minimalistic yet effective. Shadows and darkness are effectively used to create frustration. It becomes difficult at times to see the performers, and the audience can feel the tension in the room as the rage amps up; flashes of light that evoke a concert streak the performers’ bodies.

Everybody’s Got a Bomb isn’t necessarily a comfortable experience. It’s an intense showcase of human emotions that manages to be both thrilling and thoughtful. It’s difficult to conceive of a show that can both reveal difficult truths about people and also be entertaining in itself. Fitzgerald clearly has a promising future in choreography.