Category Archives: Dance

+3 Review: The Rooster and Partial Memory (Dance Base: 5-14 Aug: 14.30: 45 mins)

Posted in 4*, Dance, EdFestivals 2016 by

“Stark and powerful”

Editorial Rating: 4 Stars

Knowing very little about Middle Eastern dance, I was delighted to get the chance to experience it for the first time. The Rooster and Partial Memory, brought to us by El-Funoun Dance Troupe from Palestine and SHAMS/Marhabtain from Lebanon is a real eye-opener culturally, and it’s wonderful to have them here on a global stage.

The Rooster interprets the idea of the male bird as many different things – not just ruler of the “roost” but disruptor of the peace, chauvinist, dictator, celebrity and general troublemaker. It fuses together Lebanese “dabke” folk dancing with contemporary styles to create a work that celebrates and shares traditional culture but which is also accessible to other audiences.

Much like a rooster first thing in the morning, it starts very slowly and calmly before waking up into an explosion of noise and energy. The role of “the rooster” switches between the dancers throughout the piece, allowing them to add their interpretation of what it means to them, while showing how any man become a rooster at any time.

Thematically, the rooster character generally remains physically separated from the rest of the pack to show their power and prowess over their fellow men, though there are interesting moments of unison depicting how, despite everything, equality sometimes wins through.

The piece creates many different moods and scenarios to demonstrate the different sides and interpretations of the rooster. At times it feels like an intimate solo contemporary piece with a chorus of four cowering behind the leading man, while at other times there’s a party atmosphere full of rhythm and energy.

With so many different interpretations, meanings and moods throughout, it can be a little tricky to follow what’s going on in this piece, especially for those unused to watching contemporary dance, so try not to read too much into it and enjoy it for what it is.

Partial Memory is much simpler to grasp, and also more emotive. It follows one man’s attempt to reconnect with his childhood through a series of projected photographs. With some spoken narrative to aid comprehension, we see him desperately struggle to understand his father’s absence with confused, incomplete sequences, followed be ferocious energy as he interprets his father’s desire to become a fighter.

As the projections speed up and he loses control, we seem him frantic and desperately trying to grasp the images – a feeling we’re all familiar with as something we try to recapture slips away. As the projections start to move around we really do feel his pain as he chases them and it’s a very stark and powerful end to the performance. It would be great to see this developed further.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 6 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

+3 Review: Pss Pss (Assembly Roxy: 4-29 Aug: 16.00: 1hr 5mins)

Posted in 4*, Assembly Roxy, Circus, Dance, EdFestivals 2016 by

“Utterly charming”

Editorial Rating: 4 Stars

There aren’t many times that I wish I could construct a review purely out of facial expressions and hand gestures, but for this piece whose only words are the occasional utter of “Pss Pss”, it seems only fitting. It’s part clown, part mime, part acrobatic display and almost completely beguiling.

The performance is quite a slow burner to start with, with a short sequence where the two performers comically fight over possession of an apple – which wouldn’t look out of place in a Punch and Judy show on Blackpool beach – but when the music starts the fun really gets going and a real treat of a show unfolds.

Pss Pss dances along that very fine line between slapstick and gymnastic artistry, with glimpses of physical prowess and control that would put most performers to shame. Throw in the fact that they are also very funny and play musical instruments and you have a very impressive show.

Yet while physically impressive (by the end of the performance I truly believed there was no end to the performers’ talents), structurally it was a little lacking, with odd teases of narrative and motif, but little to drive it along from section to section, giving quite a stilted flow. I would have liked to have seen more plot and character development from beginning to end rather than a series of seemingly unconnected skits.

For all the skill and composure on display, perhaps it’s somewhat telling that the loudest and most consistent laughs in this performance were from the five or so primary-aged children in front of me. Although not specifically billed as a children’s show (indeed, their online listing says otherwise), some of the stunts seemed slightly more tailored to the younger audience, so I would definitely recommend it as a family show. Not that it isn’t enjoyable for audiences of all ages, but those with open minds and who are at least young at heart will appreciate it the most.

If there were an award for best facial expressions, Pss Pss would certainly be my early favourite – the range and timing throughout were enough to set most of us giggling at some point. The overall style and feel of the piece is utterly charming, even if substance-wise it occasionally lacks a little depth.

Beware, there is a small amount of audience interaction…

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 4 August)

Visit the Assembly Roxy archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

1984 (Festival: 31 March – 2 April ’16)

Posted in 5*, Dance, Festival Theatre, Rated: Outstanding by
Tobias Batley and Martha Leebolt as Winston and Julia in 1984. Photo Emma Kauldhar.

Tobias Batley and Martha Leebolt as Winston and Julia in 1984. Photo Emma Kauldhar.

“A spine-tingling masterpiece”

Editorial Rating: 5 Stars: Outstanding

To this day, Northern Ballet’s The Great Gatsby is the most beautiful thing I have ever seen on a stage, so I was excited and intrigued to see what the company would do with another classic novel, albeit a completely different genre and tone. What they’ve created is another spine-tingling masterpiece.

Jonathan Watkins’ choreography is created with all the intricacy and intelligence necessary to portray the complex ideas and changing moods within Orwell’s book. The workers’ unison sections are very crisp and powerful, with many recurring motifs of straight lines and triangles, both in individual movements and formation, which cleverly reflect the “all seeing eye”. Canon variations are used throughout for interest, which work very well to create production line style sequences, again very relevant to the era. In contrast, the Proles’ movements are easily identified through curves, contact improvisation and individuality of style. The lovers’ duet captures all the breath-taking beauty one might expect from a traditional ballet, while the fight scene towards the end is both graceful and gutting, as we see Winston fall and give in to the higher power.

Alex Baronowski’s score is full of accented beats and staccato rhythms which perfectly translate to the repeated motifs of the workers under the control of Big Brother, while the more romantic elements are brought out with strings and flowing, rousing melodies. Much like experimental music of the time, the orchestra uses an assortment of non-traditional instruments to create clashing tinny sounds and altogether this results in an authentic, haunting and sympathetic accompaniment to the action on stage.

Northern Ballet dancers in 1984. Photo Emma Kauldhar.

Northern Ballet dancers in 1984. Photo Emma Kauldhar.

While the relationship between music and movement are clearly intertwined, the design of this production seems equally balanced with the other elements. Chris Davey’s lighting is stark and structural, creating yet more triangles and straight lines for the dancers to follow and stay within, and Simon Daw’s set of moving walls and simple blank spaces adds to the feeling of isolation and hopelessness. Use of colour is also very powerful, from the traditional blue of the workers uniforms, to the bright yellow of hate to the oranges and browns of the Proles, this is clearly a production that pays high regard to many details, making it a joy to watch.

As can be expected in such an interpretation, not every nuance of the book is covered on stage, and sacrifices have to be made to adapt the work for this new form. It’s a shame that some sections aren’t made more of – the final quarter in particular seems a little rushed – but overall the piece strikes a fine balance between narrative progression and beauty of form. For those unfamiliar with the story this production may be somewhat difficult to follow, but even then, the artistry on display is of such high quality that it almost doesn’t matter.

outstanding

StarStarStarStarStar

Reviewer: Steve Griffin (Seen 1 April)

Go to Northern Ballet’s  1984

Visit the Festival Theatre archive.

LoopsEnd (Traverse, 2nd Feb ’16)

Posted in 3*, Circus, Dance, Rated: Outstanding, Theatre, Traverse by

LoopsEnd

“A visual feast”

Editorial Rating: 3 Stars: Outstanding

I have seen many spectacular aerial displays over the years, from companies all over the world,  and with their latest work, LoopsEnd, Edinburgh and LA based Paper Doll Militia is definitely right up there with the best of them in terms of risk, precision and wow-factor. However, while technically the gymnastics were great, I was a bit disappointed by the overall cohesion of the work.

A performance in two parts, the first half, Ashes, was inspired by the tearing down of an industrial estate where the group used to rehearse. The main visual element of the piece was two long ropes hanging from the rigging, twisted and weighted down with bags of powder. Even watching the ropes untwist and retwist in the empty space was graceful and compelling, and when combined with George Tarbuck’s stunning lighting design and the trademark tricks and treats of a seasoned aerial company, this piece was, at times, nothing short of a visual feast.

Throughout the performance, white powder was used in various ways to represent the “ashes” – one performer literally had a pile on his shoulders in the opening sequence, while the closing image was of the two bags attached to the hanging ropes slowly emptying as the ropes swung in the space. These individual instances were very powerful visually, but it was difficult to see the link between these, and any sort of narrative or progression within the piece. Indeed, many of the “theatrical” devices seemed under-developed and incomplete: there were too many moments of clichéd wide-eyed wonder and writhing around in angst, and at one point one performer walked back and forward many times, overtly undecided about whether to touch the rope. Such basic and overused devices unfortunately offset the splendorous vision of the other sections.

In the second piece, Unhinged XY, projection was also used, which in some ways added another dimension to the visual smorgasbaord, but in others gave a seemingly unnecessary layer of complexity and confusion to the action – again, it often wasn’t clear how the costumes, music, acrobatics, projections and design all married up.

The aerial silk work in this piece, and the use of wind and fabric combined to make some stunning visuals and standout moments. When one performer walked up a hanging piece of silk, weighted at the bottom by another, while competing with gusts around her, I was awestruck by the strength and artistry on show.

It was a bit of a shame that both pieces relied quite so heavily on overpowering recorded sound and music. While at some points it was great in setting and supporting the overall tone of each section, its constant use meant the work was unable to establish a mood for itself, so I would have preferred a more selective and sensitive approach to the aural aspects of the performance.

Overall, there’s no denying the talent and visual creativity that have earned Paper Doll Militia their excellent reputation. However, LoopsEnd left me somewhat hanging in mid-air, rather than applauding with my feet flat on the ground.

outstanding

StarStarStar

Reviewer: Steve Griffin (Seen 2 February)

Go to Paper Doll Militia

Visit Edinburgh49‘s  Traverse archive.

 

‘To Breathe’ (Summerhall: 24 – 28 Nov ’15)

Posted in 3*, Dance, Rated: Nae Bad, Summerhall, Theatre by
To Breathe 1


Photography: Andrew Perry. Back line, l to r: Erin Whalley, Tiffany Soirat, Anna Elisabeth Thomsen. Front line, l to r, Adela Briansó, Lewis McDonald, Maddie Flint.

“Inventive and intriguing”

Editorial Rating: 3 Stars: Nae Bad

It’s not often you see student theatre groups perform original work with such a strong dance element, especially pieces on complex themes with so much thought behind them. They generally take hours upon hours to devise and rehearse, so one must give Theatre Paradok kudos for even getting to the startline of this show, and for packing Summerhall’s Demonstration Room to the rafters with an eager audience on a Thursday night.

Given the premise of To Breathe as a physical exploration of body and breath, to me it was a somewhat strange choice to develop it with a cast of performers with limited dance experience and training. The lack of finesse and technique on display in the more choreographed elements unfortunately detracted from what could have been a very powerful and moving (no pun intended) performance, and this was the lasting impression I took with me – a great concept, but perhaps slightly overreached.

As a theatrical spectacle, it was certainly very accomplished: it contained a lot of light and shade, tension and calm, with a good sense of progression and drive, and the performers’ ability to create changing moods seamlessly was very impressive. Early on the piece was very playful, and the performers raised several laughs in their innocent self-discovery, before moving onto more emotive storytelling. Rachel Stollery’s design really complemented the action, as did the subtle use of music, and with a healthy mix of ensemble and solo sections, structurally this show ticks all the boxes.

What the troupe may not have shown in dance technique or grace, they more than made up for in emotional intensity, concentration and sheer gumption. There was a great energy and spirit to the performance, with the whole company throwing themselves into it wholeheartedly. Maddie Flint in particular was utterly watchable throughout, with a very engaging and expressive face.

 

To Breathe 2

Lewis MacDonald and Tiffany Soirat

While choreographically it was a fairly safe piece (albeit with a few too many cliched motifs for my liking), there were moments of dramatic risk that were inventive and intriguing. In one of the duets (performed by Lewis McDonald and Tiffany Soirat) the dancers fought and tussled to cover each other in paint, in a sequence that was both passionate and very well controlled. There were some great lifts on show, and this section oozed with sexual chemistry. Later on, the dancers experimented with different movements with their hands in a pile of mud, which again showed great creativity, yet it was difficult to see the connection between this and the rest of the performance.

Overall, the heart and soul of this performance were absolutely in the right place – but I would have liked to have seen more focus on the dance elements to make it more complete.

nae bad_blue

Star (blue)Star (blue)Star (blue)

Reviewer: Steve Griffin (Seen 26 November)

Go to Theatre Paradok

Visit the Summerhall archive.

Ticket to Bollywood (New Town Theatre, 7 – 30 Aug : 21.30 : 1hr)

Posted in 4*, Dance, EdFestivals 2015, Musical Theatre, Other by

“Thoroughly enjoyable and an impressive showcase of the best of Indian dancing”

Editorial Rating: 4 Stars

Ticket to Bollywood is split into three distinct parts, each of which is given a short audio introduction to explain the style and background of the dance. The first of these covers love and marriage (very common themes in Bollywood films), and at first the six girls perform with the innocence of teenagers, being supportive and playful with a photograph of one of their loves. When the boys enter, it all gets much more flirtatious, and games are played between the two groups as if not wanting to appear to keen. There is a very brief duet between the two lovers, which is surprisingly less expressive and a bit more awkward than the group numbers, but the section ends in a big bright wedding celebration.

Next comes a section focusing on traditional dance, and three screens are brought on to stage, which three girls dance in front of, and three more make silhouettes behind them. However, it’s not long before they are all together and in the middle of another high energy group routine. The male dancers bring a real sense of bravado with their very macho and aggressive routine, which resorts into a short fight sequence, complete with weaponry.

The last section is loosely themed around celebration, and while I’m sure there were differences between this and the previous two, style-wise to me this section didn’t produce anything we hadn’t already seen, apart from an interesting array of props. It was no-holds-barred up-tempo extravaganza.

While the group routines, always in perfect unison, were very powerful and precise, for me it was the sections where added props were used that really stood out. These ranged from oversized lotus flowers to swords and shields, kites and huge poles. Their creative use made this piece really unique and made these moments definitely raised the bar when compared to the rest of the performance. I should also mention the absolutely stunning costumes throughout, which really added to the overall colour and sense of show this performance brought.

For a show that’s basically an hour of non-stop dancing it’s performed with amazing energy, attention to detail and beaming smiles. Yet despite the overwhelming sense of celebration it exudes, I would have liked to see some calmer or more restrained sections to balance out some of the franticness. I also felt a little cheated that the singing wasn’t live, and that almost all the music was pre-recorded, and I would personally call this show dance rather than musical theatre.

However, that’s not to say it wasn’t thoroughly enjoyable and an impressive showcase of the best of Indian dancing. Just not quite what I was expecting.

 

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 27 August)

Visit the Other archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Vertical Influences (Assembly @ Murrayfield Ice Rink, 8 – 29 Aug : various times : 1hr 30 mins)

Posted in 4*, Dance, EdFestivals 2015, Other, Rated: Outstanding by

“The skating is spectacular”

Editorial Rating: 4 Stars: Outstanding

Vertical Influences is an original contemporary dance piece on ice, developed and performed by five talented skaters who were probably kicked out of the Canadian Olympic team for being too cool. I’ll admit upfront: I’m not an ice-skating expert, so please forgive my ignorance of technical terms in describing this performance. I am, however, trained in contemporary dance, so this critique focuses purely on the “dance” aspect of the show.

What’s clear from the very beginning, and what is a real strength of this piece, is just how connected and in tune the dancers are to each other. From the opening sequence where the group “run” in big loops around the rink as though one body, to the smoother sections in the middle where they weave in and out of each other without even seeming to look at where the others are, it’s a very mesmerising performance.

The first half of the piece allows each dancer to show off their own personalities and style through solo sections. The dancers will do sequences around the rink in unison, and one will literally break away to do their own thing, before coming back to the group. The unison sections are very strong with every movement completely in synch, but some of the solo sections, although very physically impressive, did seem more improvised, and so form a stark contrast to to the clearly closely rehearsed group sections. There is a wonderful sense of playfulness between the dancers as they allow each other to go off and be different, safe in the knowledge that they will soon come back.

In the second half the routine is slightly more traditional in terms of choreography, with more unison, canon, and recognisable structures. For this the audience sits in special seats at one end of the ice, and because we are that much closer to the action, it seems much more daring, as the skaters often skate directly towards the audience at terrifying speed, only to turn or stop at the absolute last second. The sense forward and back (a bit like a fashion runway) was very prominent, and the skaters use this to show the variety of ways they could travel towards (and away from) us, always in complete control. The weaving motif is used throughout to give congruence to the halves, but the second certainly feels more grown up, and, dare I say it, professional.

There’s no mistaking that this is very much a contemporary dance piece – there’s not a single sequin to be seen, no throwing of the girl into the air, and no jolly melodies to accompany forced smiles – anyone hoping for a Torvill and Dean bolero will be sadly disappointed. What music there is is quite harsh, mostly rhythm with little melody, and is quite hard to engage with. The piece overall is performed with little sense of spectacle or razzle-dazzle (although it is very tight) and doesn’t have much sense of narrative or development. Still, the skating is spectacular, even if the choreography might not be to everyone’s taste.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 23 August)

Visit the Other  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

India Flamenco (Alba Flamenca, 7 -31 Aug : 18.15 : 1hr)

Posted in 4*, Dance, EdFestivals 2015, Other by

“A sensual evocation of the gypsy tradition through dance”

Editorial Rating: 4 Stars

The performance begins with a narrative delivered from off stage set to the music of the sitar. We, the audience, are told of the legacy of a dying Gypsy chief in Northern India where the peoples began. He charges the tribe to roam the world with the aid of a magic mirror which will guide them, in order to spread the message of the Gypsies – to live in happiness and harmony with respect for each other and nature.

The dance begins with the traditional ‘Bharata Natyam’ performed by a young Indian woman full of grace, energy and control. As the narrative progresses she hands the metaphorical baton to a belly dancer and leaves the stage, showing how the movement has spread to Africa. Through this sensuous, sinuous and lithe new dancer and energetic choreography we are shown the development of movement, music and the evolution of culture across continents.

Finally the stage is taken by a fiercely passionate Spanish woman who, along with a Flamenco guitarist and singer, performs a traditional Latin dance of great power and beauty. Each of the three dances is linked by distinctive movements of the wrist and percussive elements made either by castanets or Indian ankle bells.

The journey is completed as the three dancers come together to bring this memorable performance to a close. They (including the musicians) fill the small performance space, taking it in turn to take centre stage, but with a running thread of grace, power and sensuality across their individual styles.

Even though this is an incredibly emotive and powerful show, I feel it would have been even more special in a bigger space and with a more elaborate set. India Flamenco is a wonderful fusion of cultures interpreted through music and dance, with a simple but powerful message. This is a low budget, simply presented work, produced and performed with obvious love for the medium and a beautiful synthesis of form.

Star (blue)Star (blue)Star (blue)Star (blue)

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Reviewer: Steve Griffin (Seen 22 August)

Visit the Other  archive.

THIS REVIEW HAS NOT BEEN SUBEDITED

Smother (ZOO, 7 – 22 Aug : 18.40 : 55 mins)

Posted in 5*, Dance, EdFestivals 2015, ZOO by

“The choreography throughout is outstanding”

Editorial Rating: 5 Stars

Smother is a dance piece that loosely covers the theme of relationships, in particular those among gay people. It’s not overtly “gay though”, and doesn’t lose itself in stereotypes, making it very accessible to a wider audience. What is more prominent is just how two people can meet, fall in love, and be affected by an affair, regardless of gender or sexual orientation.

The choreography throughout is outstanding, from a full-on hip hop opening number, to more sensuous contemporary sections it explores the party lifestyle, expectation, friendship, infidelity and intimacy. There is a great balance between the big unison group numbers and the more emotive solos and duo sections, while one dancer’s frustration to find anybody to love is made all the more powerful by the constant ignoring of her plight of the performers who walk past her time and again.

Particular highlights include an example of the first awkward encounter in the bedroom getting tangled up in one’s clothes, through to the very emotive trio at the end of the piece, showing how a lover comes between the lead couple to drive them apart. Canon is used very effectively throughout the piece (with one dancer often doing the reverse of their partner), and is powerful enough to show similar thinking, but an ability to communicate it directly.

For a high octane dance piece, performed by a troupe of incredibly lithe and athletic young dancers, it’s also very mature. The overt sexual movements are kept to a minimum, while everyone stays, for the most part, fully clothed. The power comes from engagement between the dancers – their synchronicity (or otherwise) and proximity to one another is enough to show how close they are emotionally and sexually. It’s balanced, detailed and very relatable.

While it’s not quite as hip-hop throughout as the billing suggests (the music perhaps a stronger influence than the choreographic style), the dancers are just as talented at the fast pops and locks as they are with the leaps and lifts in the more contemporary sections. Speaking of the music, it’s a generally a very modern and young selection, at times very lyrically overt, perhaps to aid the narrative, but very effective all the same.

A very  impressive full length debut from 201 Dance Company.

Star (blue)Star (blue)Star (blue)Star (blue)Star (blue)

Reviewer: Steve Griffin (Seen 15 August)

THIS REVIEW HAS NOT BEEN SUBEDITED

Correction (ZOO Southside, 11- 19 Aug : 20.15 : 55mins)

Posted in 4*, Dance, EdFestivals 2015, Rated: Outstanding, ZOO by

“Very well developed and powerful, with bags of personality”

Editorial Rating: 4 Stars: Outstanding

There are times that I feel like I’ve seen everything there is to see in contemporary dance, but Czech company VerTeDance showed me that originality is still very much alive and well with new piece Correction. The show begins with seven dancers in a neat row on stage, arm’s length apart from each other. And that’s where they stay for the entire performance. Honestly.

Such a bold, simple approach reminded me of the founders of the Judson Church contemporary dance movement in the 1960s, pushing those very same boundaries and asking the question “what is dance?”. While there’s certainly movement and music, the seven performers are literally glued to the floor throughout the piece and don’t take a single step.

Despite the seemingly constraining concept, it’s actually a very well developed and powerful piece, with bags of personality, tension and progression from beginning to end. In the opening moments the dancers look around and become aware of their space and own being. It’s a slow and subtle start, and like many pieces I’ve seen before, but then the fun begins. One dancer turns to poke the next, who reacts by tipping slightly from side to side before coming back to standing. Then they poke the next, and so on. Before long there’s lots of poking, lots of tipping and chaos ensues.

After a brief musical interlude, the next iteration of movement involves the dancers falling over, while still having their feet stuck to the ground. It’s thoroughly enjoyable to watch them struggle back up to standing, with hilarious, unimpressed reactions from their fellow dancers. As this section developed, some of the body contortions and balances made were simply astonishing, and at times seemed to defy gravity.

The action soon moves onto a sort of fight scene, with dancers pushing and shoving and bending and falling in all directions. There are several repeated sequences in this section of the dance, which speed up and becomes more frantic, before a moment of stillness. This section is very impressive and controlled, showing great skill and dexterity to make all the shapes and supporting positions for each move. The final sequence is somewhat unexpected, but adds a new dimension and feeling to the work.

Throughout the piece music is provided by Clarinet Factory, a four-piece clarinet group who move forward and back creating incredible atmosphere with their instruments to support the action. It’s not something you see every day, but in a bizarre kind of way it really works.

This is one of those pieces you’ll be talking and thinking about well after you’ve left the auditorium, and really is worthy of being seen to be believed.

outstanding

StarStarStarStar

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Reviewer: Steve Griffin (Seen 2 October)

THIS REVIEW HAS NOT BEEN SUBEDITED