Here’s my review of The 7 Fingers. They performed Ttiptyque, a mixed bill at Sadlers Wells on 1st and 2nd April. http://bit.ly/1TEG2I4
Back in February I reviewed Pina Bausch’s Como el musguito at Sadlers Wells for Bachtrack.com. Reviewing Bausch was both terrifying and wonderful – it felt like reaching a mile stone. Journalist Lyndsey Winship and dance lecturer Josephine Leask both gave me invaluable advice.
Here’s the end result: http://bit.ly/1OcvDvG
“Beguiled, bereaved and betrayed – Will Tuckett Elizabeth imagines the ill-fated romances of the Virgin Queen. Tuckett draws on the monarch’s own writings and those of her contemporaries to fashion a full-length work, blending spoken word, dance and music to convey the tumultuous affairs of Elizabeth I.”
Full review here: http://bit.ly/1JISbbU
The Place, Robin Howard Theatre
Saturday 5th December 2015
London Contemporary Dance School: Music Collaborations
Yue Ton Kwan/Cameron Dodds Friends Minus Two
Waddah Sinada/Jack Sheen Ominous
Vincent Jonosson/Mo Zhao Constellations
Jamie Chapman/Joshua Borin Personae
Maeve McGreevy/Toby Huelin Another Way of Talking
Music and dance are two sides of the same coin. A melody or a beat sparks an irresistible urge to move; whether to tell a story, push artistic boundaries or to shake one’s tail feathers just for the sheer joy of it.
Students from Guildhall School of Music and Drama and the London Contemporary Dance School join forces to explore the marriage between music and movement. There is a distinct absence of tail feathers, instead, five thoughtful pieces expressing the synergy between two constantly evolving art forms.
Choreographer Yue Tong Kwan opens the evening with Friends Minus Two. The dancers contribute their own vocal ticks to Cameron Dodds’ score, giving voice to their physical exertions. Kwan works with a refreshingly light touch, which hints at the absurd, but doesn’t topple over into clowning. Friends Minus Two is a fine-spun weave of choreography and sound.
Ominous, choreographed by Waddah Sinada, is deftly sinister. Dancers encircle one another, spliced by a series of rapid blackouts. Composer Jack Sheen creates a darkly atmospheric score entirely out of percussion. This is a well-crafted, textured work; with tightly-knit, pacey ensemble sequences and crisp articulation of movement. A strong partnership, Sinada and Sheen create and sustain tension, which leaves my spine tingling.
Dancers and musicians enter the stage together at the start of Constellations. The deep, earthy call of a didgeridoo initiates movement. Performers run in wide circles, meeting briefly to connect and disperse. Lilting arpeggios on the piano and trilling violins echo the restless motion. Mo Zhan’s music and Vincent Jonsson’s choreography work hand in glove. The material is a little thin in places, but the piece finds it own rhythm and integrity.
In contrast to the quiet solidarity in Constellations, Personae opens with four solitary figures in hooded dresses, each isolated in a pool of light. Their long skirts catch the residue of their movements, rippling around their legs. Choreographer Jamie Chapman and composer Joshua Borin evoke a brooding inner struggle. A change in mood, reveals their alter-egos. In jeans and t-shirts, the dancers spill out into the space. With forceful, probing gestures, they appear to escape their confinement and experience the world anew.
Another Way of Talking choreographed by Maeve McGreevy ends the evening. The space trembles with the sonorous sound of two cellos, played by David Råberg-Schrello and Katy Reader. In striking black costumes, a trio of dancers penetrate a sparse musical landscape composed by Toby Huelin. Silence and stillness act as a counterpoint to explosions of musical colour and movement, creating contours of light and shade. Another Way of Talking stands out as the most sophisticated exegesis of music and choreography, but it doesn’t quite land. It feels like five competing monologues, rather than a conversation.
On 9th and 10th December, London Contemporary Dance School and the Wimbledon College of Art and Design present an evening of explorative dance challenging the role of dancer and designer in performance. For information and tickets, click here.
I am delighted to have joined the team of dance writers at Bachtrack.com. Here is my first review.
“Choreographer Russell Maliphant and lighting designer Michael Hulls could just as easily be thought of as innovators or architects. Conceal | Reveal at Sadler’s Wells tells the story of their creative partnership spanning 20 years. Together they have forged new choreographic terrain, a topography of movement and light.
Saturday 21st November 2015
The Place, Robin Howard Theatre
Aakash Odedra Company
Aakash Odedra and Lewis Major Murmur 2.0
“Can anyone help me find my A?”
I feel my chest tightening…
“Can anyone help me find my A? I don’t feel balanced without it.”
…And that hot, thumping feeling behind the eyes as tears threaten my carefully constructed “dance critic” demeanour.
Aakash Odedra struggles amid a swirling pool of paper, desperately searching for the letter A, the second A to be precise. The A in his name he didn’t recognise for 21 years because Odedra is dyslexic.
Choreographed by Odedra and Lewis Major, Murmur 2.0 is a stunning, multi-media exploration of dyslexia. The solo is a new, expanded production of an earlier work on the same theme. Five white drapes hang in the centre of space. A flock of animated birds dance across the canvas, swooping and turning in response to Odedra’s movements. As he touches the material, blue shapes appear, they fizz and crackle before melting away.
Odedra is a gentle, almost transcendent, presence on stage and utterly mesmerising to watch. He is earthed, energy ripples up through his body from the soles of his feet and he moves with incredible speed and delicacy. Odedra is a shape-shifter; moving seamlessly between dance styles and traditions. His body takes on a liquid form. Like water he slips through your fingers, appearing to be solid whilst simultaneously evaporating. Gestures tumble out of Odedra in waves like words on a page. He gives each movement breath and releases it perfectly formed.
The use of technology in Murmur 2.0 is extensive but perfectly balanced. It doesn’t overwhelm Odedra, it intensifies his performance and crucially it shapes – rather than decorates – the narrative. Throughout the piece Odedra appears in control of visuals, as if they are figments of his imagination – a language of his own making.
In an undulating pool of light, Odedra’s feet snap against the floor. Drawing on his Kathak training, the rhythmic footwork accompanies a soaring female vocal. His arms and torso echo the velvety lyricism of Nicki Wells’ score in stark contrast to the rapid patter of his feet.
“How long does it take to correct a mistake?” asks Odedra.
Dyslexia is a disability, but it doesn’t have to be a limitation. For people with dyslexia, creativity isn’t a choice or a luxury it’s a survival mechanism. They duck and dive around language, constantly picking their way through a jumble of vowels and consonants, and redrawing linguistic pathways. These daily negotiations are invisible to those for whom letters and numbers fall neatly into line. In collaboration with Ars Electronica Futurelab, Odedra and Major bring this vividly to life: the frustrations, the anxieties, but also the infinite possibilities. Murmur 2.0 is achingly beautiful. Naunced, poignant, but never preachy. This is spellbinding piece of narrative dance; deeply felt and exquisitely portrayed.
Check out upcoming performances at The Place here
Blue Elephant Theatre
Wednesday 18th November 2015
Chloe Aliyanni Trivialis
Three strangers collide at a crossroads. Is it a chance encounter or the scheming hand of fate?
Jonathan Caruana, Savina Casarin and Morrighan MacGillivray are the protagonists in Chloe Aliyanni’s Trivialis. It premieres as a full length work at Blue Elephant Theatre; a venue increasingly known for its contemporary dance programming and as a platform for emerging choreographers.
Wary and guarded, the dancers pace across the floor. They turn abruptly dodging one another’s pathways and stubbornly avoid eye contact like skilled London commuters. The energy and momentum builds punctuated with tightly-danced sequences in unison.
Gaia Cicolani and Clelia Vuille are Puck-like and impish creatures. Dressed head to toe in black, they appear and disappear at will, melting into the walls and floor. Locked in an combative embrace, they playfully push and pull each others limbs. Are they the mischievous authors of the collusion that entangles the lives of the central characters?
Stelios Kyriakidis’s score is brooding and imposing. The electric guitar throbs and pulses, enveloping the performers in a dense cocoon of sound. In a duet between Caruana and MacGillivray a single melody weaves its way through the dancers bodies. Caruna dissolves at MacGillivray’s touch. Like a long drawn out breath, their movement takes on a looser, softer quality, dissipating the earlier tension. The final trio brings resolution. Holding hands, Caruna, Casarin and MacGillivray share weight and discover shapes with a common fluidity.
Trivialis is well rehearsed and slickly executed. Aliyanni integrates music, lighting and movement into a comprehensive work. It is bursting with intensity with strong performances but the narrative thread frays as the piece progresses. Trivialis starts with a bang, but struggles to sustain its impact.
To find out more about the Blue Elephant and upcoming performances, click here
Check out Chloe Aliyanni via her website or Twitter (@chloealiyanni)
“With little warning, laughter rips through the performers’ bodies. It splutters and vomits out of their limbs, climaxing in a mosh pit of throbbing arms and torsos. They cackle, bark and squawk, fragments of laughter are tossed between the dancers and hurled at the audience.”
You can read my full review here:
Here’s a short article I wrote for DanceWest about their new programme of classes and workshops for children and young people aged between 6 and 24.
From more information about DanceWest, visit: http://www.dancewest.co.uk/
Blue Elephant Theatre
Saturday 8th August 2015
LCP Dance Theatre
Joanna Puchala I Am
The survivors of human trafficking and their road to recovery is the central theme of I Am choreographed by Joanna Puchala. It’s a weighty subject, but Puchala approaches it with bucket loads of creativity. Her keen eye for design and colour punctuates the work. The chairs in early sequences allude to the infamous windows in Amsterdam’s red light district. Brightly-coloured costumes strike a hopeful note. Tunics of sunshine yellow, coral and royal blue ripple with optimism as they ebb and flow with the dancers’ movements.
But it is the unrelenting pace and robust physicality that characterises I am. In the intimate space at the Blue Elephant the energy of dancers is palpable. It pings off the walls and pushes its way into the audience. There is the odd fumble during more complex lifts and counter balances, but the duets and quartets that unfold during the piece gradually unlock a journey of restoration.
Projected onto the back wall, a film by Laura Jean Healey and Michael Clements depicts fleeting human images in black and grey tones. The haunting figures slip in and out of a velvety darkness. But amid the frenzy of colour and movement in the foreground, the visual nuances get lost. Puchala doesn’t give the film an opportunity to breath and its contribution is stifled by the clamour of the choreography.
I Am is well-intentioned, but doesn’t quite hit the mark. The narrative of rehabilitation and renewal gets tangled up in a shopping list of ideas jostling for our attention. It feels overcrowded, with differing concepts bumping up against each other and without a clear sense of direction. There are some gems buried in the busyness, but you have to dig deep to find them.
For more information about human trafficking and work supporting survivors, visit the Sophie Hayes Foundation.