Matsena, KABEL Review 3*
Matsena reimagines the first recorded murder in human history in the intense two-hander KABEL at Sadler’s Wells East
Why did Cain kill his brother Abel? The Bible doesn’t exactly give chapter and verse on the reasons behind the first human murder it records; but over the centuries the enormity of the crime has intrigued and compelled not only theologians but artists, too.
Now Matsena re-tells the tale in KABEL, a darkly powerful 70-minute piece that asks, why do we hurt the ones we love most?
Matsena is the professional name of the company formed by two brothers, dancers Anthony and Kel Matsena, born in Zimbabwe and brought up in Wales; who better to reenact a complex fraternal relationship?
They do so in a highly ambitious work as intricately knitted as its title, Kabel, part dance, part theatre, part installation, Ryan Joseph Stafford’s lighting design simultaneously framing the action and establishing itself as an entity in its own right.
Choreographed by Anthony Matsena to a complex sound score designed by Francis Botu made up of music, birdsong, the spoken word and nerve-shredding electronic noise, KABEL follows the brothers from playful childhood, through friendly rivalry as adolescence sets in, to conflict, jealousy and eventually murder in adulthood.
KABEL by Matsena productions. Photo: Kirsten McTernan
Break dancing, itself containing a strong element of challenge and competition, is Matena’s primary dance language: as children, for example, Cain and Abel compete through floor moves and hand stands; but it has to be said that dance itself is only a minor component of KABEL – more’s the pity. It is, nevertheless, an intensely physical work, the brothers’ bodies as tense and purposeful as coiled springs throughout.
They move within spaces defined by red lighting on a reflective stage that mirrors their images. A red circle within which they play together slowly turns into a red circumference that encloses Abel but excludes Cain. As their relationship fractures, they exist side by side in separate rectangles of light.
Slowly a circle of red ropes descends on the stage; later it becomes apparent through a snatch of spoken word that these symbolise Cain’s self-isolation fuelled by his own jealousy and hatred.
When the murder comes, it is graphic and blood-chilling; the final section is given to Cain’s torment and eventual repentance; and although he demolishes the house of hatred by bringing down every red rope, it’s unclear whether redemption is possible.
KABEL by Matsena productions. Photo: Kirsten McTernan
At its best KABEL is compelling; but structurally it is unbalanced. Its first half-hour or so is slow moving and not very interesting. It’s only when the brothers enter adolescence and play-fighting morphs into physical confrontation that the work really takes flight.
From then on KABEL never relaxes its grip on the audience. At times it’s edge of your seat stuff. And it leaves with you that haunting question: why do we hurt the ones we love most?
© Teresa Guerreiro
(Banner image credit: KABEL by Matsena productions. Photo: Kirsten McTernan)
Matsena, KABEL is at Sadler’s Wells East 5 – 7 May 2025. Details and tickets here