It’s the inclusion of the spoken word in Fractus V that sets it firmly in the ‘contemporary’ dance productions camp, as opposed to ‘classical’. That, and the sound effects, so potent and vivid, simply don’t exist in classical dance, where even a hand clap is frowned upon, and the only sound created emanates from the orchestra. Here, the use of a live band on movable sets meant the musicians were very much a part of the on-stage action as the dancers, and one scene even brought the roaming sets … [Read more...]
Reviews of Dance in London - Reviews of Dance at Sadler's Wells
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BalletBoyz’ Them/Us at Sadler’s Wells
The first half of the show, a thirty-minute piece choreographed by the dancers is titled Them. It’s not boring because Balletboyz are fabulous dancers and for this reason, it’s enough to watch but the work itself feels shallow. It’s hard to work out what the point is except as a virtuoso display. The cube doesn’t add much either. Andrew Ellis, the lighting designer contributes occasional intense scenes of colour which are beautiful. The music composed by Charlotte Harding provides necessary substance to the work as it sweeps from gorgeous strings to strings with a driving beat that accompany the best section of dance, a virtuoso solo by dancer, Benjamin Knapper. Them has a running time of only 30 minutes which is just about right, not overlong.
Notwithstanding the limitations of Them the second half of the show, Us, after the interval is so satisfying you leave elated, amazed all over again by the impact of great contemporary dance when it happens in front of you again.
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This is a show made to express the voices of women prisoners. Being created with the assistance of women from HMP Low Newton, in 2015 it won the Carol Tambor Best of Edinburgh Award with a US premiere Off-Broadway, New York. There are five performers. Four of them with a distinct persona, the likeable, feminine one, the druggie one, the grandmother figure and the one who always plays the male parts. The fifth plays Lorraine, who sits in the corner, occasionally pretending to be a child and … [Read more...]
Outside it’s a chilly October night but we’ve come somewhere else, somewhere in Northern India, it’s beautiful, everything is saffron, it’s an ancient temple perhaps, there are dancers. And what dancers they are. Seven of them, stamping choreographer, Aditi Mangaldas' power onto the stage with bare feet in the Kathak style, spinning beyond the belief of human capability into light and shadow, telling their stories with bends and turns, movement and stillness. These dancers take turns to … [Read more...]
What a fascinating, provoking evening of dance is SoftMachine: Yuya and Rianto, conceived and directed by Choy Ka Fai. Being only on at Sadler’s Wells for two nights by the time word has spread about how astonishing, how much fun, how intriguing these performances from Japan and Indonesia via Japan are, they’ll have gone again. Hopefully, they’ll be back. Yuya Tsukahara is the founding member and leader of contact Gonzo, a contemporary dance unit based in Osaka. From bashing a wooden pole in … [Read more...]
Haunting and moving this is a beautiful dance show created by Norwegian Choreographer Hege Haagenrud, who explores with truth and sensitivity life from the perspective of age. We meet four dancers as two older women, one man, and an empty chair. We hear conversational Norwegian spoken by a gentle old man, translated into projected English text. We are made to understood that life changes when you grow old. It is then we meet the fourth dancer. He’s a projection, bigger than life size, on … [Read more...]