Choreographed by Lola Maury and performed by James Morgan and Laureline Richard, Two To Tune is as the title suggests about two individuals being ‘in tune’ as well as being co-dependent on each other. Described as an episodic duet in the programme notes, it is so much more than the dancers being synchronised, they are creating moments that cannot ever be repeated.
As Two To Tune began in a blaze of bright lights from the sides of the stage and a cross between a mountain storm and air raid siren, the two dancers appeared in their most simplistic form in the middle of the stage. In the blink of an eye they literally were writhing and demonstrating an intense pain and fear by means of contortion. Although not in sync I quickly realised this did not matter as this was standing together and uniting to face fright. This was an effective way to begin Two to Tune and grasped the audiences attention immediately.
The elongated and sensitivity of Morgan was contrasted well with the power and athleticism of Richard in many of the sections, both bringing an energy that could be felt between them. Maury’s choreography at times meant that it was Richard dominating the duo for example in one scene she was on Morgan’s back while he on all fours and this seemed to represent domination rather than actually riding an animal. There were in sections a reversal in power, but with the bold presence that Richard possesses this did not always translate with Morgan not having that edge to dominate such a force. A section near the end of Two To Tune where there was a gang mentality with the two dancers squaring up to each other, was a highlight of this performance which incorporated some well needed humour and tongue in cheek moments that both Morgan and Richard captured very well.
Although I would have liked to have seen more humour as well as intensity there were moments of sheer captivation in Two To Tune. Lola Maury has created with each section unique moments that were performed superbly by the dancers and displayed the enchantment of what two individual bodies can create together.
Ten Tracks For The End Of The World
Riccardo Buscarini created this autobiographical performance 10 Tracks For The End Of The World in 2012 to celebrate his ten years in Dance and also this was the year that many believed the world would end. I was intrigued by the premise of a playlist being assembled of ten tracks by ten friends of Buscarini for him to use in his performance, with each song ultimately representing a chapter of his life in that ten years.
From the moment Buscarini opened the ten bags of flour on the stage in front of him and drew the number 10 I had no idea what was to follow which ultimately excited me, an unpredictability hanging in the air. This hanging is what precisely followed during track one with Buscarini clinging on to the microphone ( his only prop standing in the right hand corner) on the floor at a horizontal angle as if being blown away in a ferocious wind this perhaps representing a lack of control and being pulled in a wrong direction.
The sixth chapter performed to Beck’s song Profanity Prayers was quite mesmerising as it showed the demons in Buscarini which I found very exposed with his head grabbing and jerk movements although not complex captured the desperation perfectly. This contrasted with some of the other sections that did not always perhaps clearly define their intention or mood. This lack of definition could be perhaps open to interpretation but there were just certain section clearer than others but each one was masterfully choreographed with every fibre of Buscarini’s experience in dance on display
It was clear that there had been a lot of mental anguish and self-doubt that was captured in Ten Tracks For The End Of The World, this was executed with a lot of vigour and skill but perhaps a resolution to each chapter to show how any inner sadness was overcome would have been interesting rather than Buscarini just returning to the microphone after each track, but maybe this was so each chapter would not be dwelled upon so the performance is more of a collective of those ten years.
Review by Francesca Mepham
Two to Tune is a homage to the synchronicity we sometimes experience with another person. Animals anticipating the attack, pogo dancers sharing a groove, daring sports contestants, lovers breathing, magnets attracting and repulsing, planets orbiting.
Two dancers share a moment of absolute concentration, connecting and harmonising with one another’s bodies, synchronising rhythms and impulses. Alert, apprehending and responding. They are playfully locked together.
10 Tracks for the End of the World
In 2012 I celebrated my first ten years in dance, right when everyone was saying that the world was about to end. I decided to create a long solo consisting of ten chapters put together in a playlist prepared with the advice of ten friends. Framed by a fragmented serial structure that leans towards cancellation, 10 Tracks for the End of the World is the collection of those moments in which I felt the need to escape and at the same time the desire for the end of the world to swipe everything away.
Thursday 23rd April 2015