“incredible, spellbinding Butoh experience with  Atsushi Takenouchi,  Paul Michael Henry,  Pik Kei Wong,  with sound and visuals by Hiroko Komiya and Chris H. Lynn”

 

Frequency  in Scotland marked the 10th performance (including Edge of Presence) and the first of 2026. There were a number of last-minute changes and little time to rehearse, but this show felt wonderful right from the start.

The Old Hairdresser’s club, where the event was held, is located in downtown Glasgow and hosts a wide variety of events, not your typical theater. We were on the top floor.

The club had a beautiful old piano which was perfect for improv and a normal-sized screen used for film events.

 

Like Black Mountain College Museum and the Yaw theater, the show sold out.
We opened the show with me playing piano while the dancers slowly entered, Hiroko followed and the show began.

Both Hiroko and I introduced a number of new sounds and recordings during the show. I was really happy with the improvised piano, and felt the arrangements, especially during the middle of the set, is something we can build on.

 

As with other Frequency shows, the dancers, except for Atsushi Takenouchi, were new. For Scotland, Paul Michael Henry, who organized the show, and Pik Kei Wong performed.
I look forward to seeing some video footage of the event and their performance.

We were also able to get a nice recording from the soundboard which I will be sharing soon.

 

After the show, we heard plenty of positive feedback. One gentleman, Alan, approached me as I was packing up and said he read about the show on a website on things to do in Glasgow and, on a whim, came in. He was totally amazed and was not sure what he saw/heard, but was really happy he attended.

Massive thanks to Vernix, the opening band and everyone who went on the journey with us.

 

Glasgow is a beautiful city, and it was an honor to be doing a show on a cold, windy January night. This was my first time visiting and I hope to return.

 

 

Photo: Matt Evans