Archive for category Dance
The Seagull Effect
Posted by Martin in Charlotte Monk-Chipman, Seagull Effect, Zoo on August 28, 2011
DANCE
****
The Seagull Effect
Zoo Roxy
There is nothing Idle about the theatre company ‘Idle Motion’. ‘The Seagull Effect’ is a thoroughly eclectic collaboration of mediums in a dynamic piece of theatre which transforms the ordinary topic of weather into something extraordinary. Inspired by the freak hurricane in Britain 1987, this undeniably exciting company draw from countless creative perspectives and verbatim accounts, as they brave the elements with this resultant success.
But naturally, this silver lining isn’t without it’s cloud, the concept is overly complicated, overcast with far too many metaphorical strands and philosophical messages, mapping fate against the geological weather predictions, but the spectacle makes up for this pretentious front.
The storyline of two separated lovers reunited by the storm, felt awkwardly worked in, with nagging sentimentality. It was the main tale which was plucked from the chaos, and although the couple’s story explored another layer to the web of dramatic forms, the emotional intensity of their relationship revealed a gaping hole in the piece; their acting ability. Clearly, they made better artistic innovators than actors, as their chemistry wasn’t quite believable, and although I warmed to Kate Stanley’s characterisation of the woman, I found Alex Kearley-Shiers performance as the Man awkward and poorly acted.
The use of projection onto many different objects was thrilling and really slick, I loved the use of the multi-functional white umbrellas, and whenever they used multi-media projection, I felt it was incredibly effective through each artistic inflection.
The piece is a clear example of style over substance, but it works. The vast array of multi-media titivations constantly delivered really clever moments and as a result the show was thoroughly entertaining. The piece’s ambition cannot be faulted, but it attempted to metaphorical-ize the concept of the human body and emotions in harmonious sync with nature, which remained in dis-equilibrium in the eye of the storm.
Matters of the Heart
Posted by Martin in Martin Powell, Matters of the Heart, Zoo on August 25, 2011
DANCE
*****
Scottish Dance Theatre – Matters of the Heart
Zoo Southside
Scottish Dance Theatre rarely disappoint, if ever, and they didn’t this year. Looking at the programme I was reminded of a restaurant. Get in and be served bread (4 mins), then the starter (12 mins), then the main course (30 mins). However what this omits is that utterly wonderful bread can be just as good as the main course or the starter. So it proved.
We started with A Little Shadery, choreographed by Sally Owen. Two dancers who are almost trees, in fact leaves were projected onto a screen behind them, which meant you could either watch the dancers or the image behind. A beautiful coalition of bodies with a witty end.
Then we get into the starter Dreamt for Light Years, choreographed by Joan Cleville. Here matters of the heart were clear as two dancers, one male one female, come together and establish a relationship with beautiful movement but clearly an intense sexual encounter yet not a porn show. This was dance at its best.
Finally we come to Lay Me Down Safe. Wow. It starts with three men in dresses and at various times has from 1 to 8 dancers on stage. Early on we get two men clearly pairing up as a couple but then gets more complex with other relationships developing. Not all of them sexual. There are sections where clear thrusting movements are involved but they don’t involve pelvic movements. Nor do they need to, this is dance. Capable of being interpreted in several ways it is an absolutely lovely piece.
Does dance get any better? If so I’ve yet to see it.
Shutterland
Posted by Martin in Charlotte Monk-Chipman, Shutterland, Zoo on August 24, 2011
DANCE
*****
Shutterland
Zoo
As Lecoq-trained performers, this 4 strong all-male cast of ‘Rhum and Clay’ deliver exceptional clowning, physically dynamic images, and a wonderful aesthetic which is only strengthened when they remove their gas masks to reveal further pleasures; as incredibly attractive men, each tall dark and handsome, it seems they can do no wrong. They begin by exploring the darkness with torches, groping the space with slow and controlled movements, subtly lit by the glow of torchlights. The effect is immediately enigmatic, and with a restrained music score like the whirring undertones of a generator, this prefigures the sinister sci-fi landscape that is ‘Shutterland’.
The company embrace the strange, channelling absurdist perspectives of a heightened reality and a physical embodiment of paranoia through a performance which explores an exciting and creative subversive treatment of surveillance in society. It is darkly humorous, pacey and satirical of CCTV; bearing social, historical and political resonance which is at times chilling, and always beautiful. There are some stunning moments, creating really dynamic stage pictures, such as the simple coup de théâtre where video cassette tape exploding from a man’s chest is poised in mid-air by gas masked military enforcers.
Some scenes went on a bit and seemed repetitive, yet the show is highly original with fluid physicality and this repetitiveness didn’t seem to matter, as they were constantly creating something beautiful and interesting to watch. I will certainly be following the company on facebook, not least to beautify my newsfeed, but this is an exciting company with limitless potential, and you can expect great things from these men.
Flynch Looking
Posted by Martin in Charlotte Monk-Chipman, Flynch Looking, Zoo on August 23, 2011
DANCE
****
Flynch Looking
Zoo
As a Lecoq trained company, their work clearly derived from a physical centre, with great attention to the body in the space, giving the actors incredibly engaging stage presence and focus. Having billed itself under the Dance and Physical Theatre genre, however, I was slightly disappointed by the lack of movement driven scenes. Using caricatured personalities, they portray the story of a socially awkward, perhaps even mildly autistic Flynch in the aftermath of his break up with a girlfriend he can’t stop loving. His journey leads him to a seaside hotel, where the play is set, and through surrealist scenes of escapism and dream-like states, they creatively paint a very funny perspective of the title characters circumstances and emotions.
Flynch is a very endearing character, beautifully played by Ben Teare, with a great balance between the goony hilarity and an inductive sympathy, sensitively done. In a plot where the everyday is heightened, they have created a simplistic, low-budget show that is easy and beautiful to watch. They imaginatively utilise minimal props in an incredibly effective way, most memorably creating a TV with an open suitcase and a flickering torch, so that there are glimpses of artistic genius.
‘Clout’ has great potential, but ironically it lacks clout. It is a gentle interpretation of one man’s tragedy, descending into a dream-like surrealism, but although it is visually quite beautiful, it isn’t stunning, and needs grounding. They seem pre-occupied with conveying the narrative, as it is largely dialogue centred and perhaps overly wordy, but poetic, so that when they break out into a comical dance routine, this moment seems out of place amongst the other scenes.
Muscle
Posted by Martin in Brett Herriot, Muscle, Zoo on August 17, 2011
DANCE**** Muscle
Zoo Roxy
Welsh Company ‘Shock and Awe’ bring a production to the Fringe which is intelligent, beautiful and very personal. It’s one of the productions which have come to define Zoo’s place with in the heart of the fringe.
The story is built around a series of interview undertaken by the writer and director asking the question what defines masculinity? The results were astonishing as no two people ever answered the same. What the company have done is used the power of physical movement with comedy and dose of reality to present those stories as a collective. It’s still very much a work in progress and always will be, what one person sees today is different from what one will see in the future. Muscle will continue to involve in this manner.
The stories I encountered ranged from Catholics indulging in sexual intercourse much to the disgust of the local father right through to a man’s abuse of his family and a son breaking his heart to hold that family together no matter what.
The movement aspect of the production is beautiful as poetry in motion and complete captivates the mind as does the striking direction and use of projected visuals across a set consisting of movable gauze panels. The 5 male performers are excellent as they slip between characters both male and female and effortlessly pull of the physical element. For me especially Lewis Reeves excels in this his first professional production with wonderful physical presence and acting talent. In terms of sheer acting alone Lee Mengo is also a performer to watch out for.
The whole production reminds me of the poet Dylan, “do not go quietly unto that good night, rage, rage against the dying of the light” This examination of Masculinity will capture the heart of those who see it, so don’t miss out.
Amaryllis
Posted by Martin in Amaryllis, Charlotte Monk-Chipman, theSpaces on August 17, 2011
DANCE
**
Amaryllis
The Space on Niddry Street
Performed by 4 teenage girls on a stage strewn with tacky fake flower petals, the show claims to be ‘a thrilling collaboration of dance and film’. This could be worded more fittingly by dropping the thrilling and prefixing ‘mal’ to collaboration, since these components felt out of place, but not through deliberate juxtaposition. Instead, the performance maintained a feeling of disequilibrium.
The choreography was quite basic and repetitive and the use of lighting did not enhance the performance, so these cues felt like unnecessary complications which could have righted the technical difficulties which ensued. The performance was generally disappointing, a feeling clearly shared by the cast in their thwarted demeanour and the giveaway utterance of ‘for fucks sake’ from backstage after the first routine. This level of unprofessionalism was a motif throughout the show, as the whispering persisted. In light of the unfortunate mistakes, I will attribute this to teething issues however, the manner in which the girls coped with the situation was inexcusable and oh so ironic that the piece contained ‘regret’ as a theme. Memorably, the narrated voiceover spoke about the inability to ‘take it back’, so it was clear that they did not relate to the material at all.
As a result, they danced without passion or emotion, and instead of journeying ‘through the emotional extremities of human relations’, they painted a much clearer picture of the insular. Again, this was conveyed through the unsyncronous dance sequences.
The recorded voiceover narrated the story, but this was ill matched to the video footage which was projected onto what resembled a creased bed sheet used as a projector screen. This aural layer reminded me of a soothing audiobook narrator, so in this respect the tonal quality of the narrator complemented the similarly paced dancing, which although lacked ambition, it was easy to watch, and can best be described as nice.
A World Without Words
Posted by Martin in C Venues, Joshua Hepple, World Without Words on August 14, 2011
DANCE
***
A World Without Words
C Venues
My criticism with dance so far at this year’s Fringe has been that the dance acts have been performing individually, without any linkage or story being told. I commend A World Without Words for their ability to do this. We follow a couple falling out of love with each other, and the anger that comes with that.
The story is told all through dance, completely ‘Without Words’, as it is a very simple yet effective storyline that the cast is acting out through dancing to modern classics; for instance The Kinks and Damien Rice.
I felt that many of the slow acts were performed very well; especially when the female lead was expressing her anger through movement. It is always great to see true emotion in dance, although what I felt let the show down was the lack of synchrony between the backing dancers when there were many performers on stage. They did not seem to be performing in harmony, as one. It was almost as if I was watching many different performances. I think that this is a shame as the concept for this is excellent.
With a little more work, and the cast becoming much tighter in their movement together, I feel this could be excellent; but there is a lot more work needed before this dance show can reach that level.
In the Dust
Posted by Martin in In the Dust, Tony Challis, Zoo on August 13, 2011
DANCE
*****
In the Dust
Zoo Southside
2Faced are back with a vengeance – with works by three choreographers, showcasing their explosive brand of break-infused contemporary dance. This all-male company, formed in 1999 by Tamsin Fitzgerald, presents a variety of moods in this show.
Tom Dale’s Subterrania uses the musical world of Shackleton. It suggests a world in decay, perhaps underground, with ritualistic sequences and the company’s usual whirling athleticism. Even a gas mask. Like all the best dance, there is ambiguity in what is portrayed, but I felt there was a search for what had been lost here and an attempt to establish community.
Freddie Opoku-Addaie’s Politicking Oath is in a quite different mood. We shall hear a great deal about the 2012 Olympics in the next 12 months. Come September 2012 it may be the thing not to talk about, so this piece comes at just the right time. Short bursts of various national anthems are heard, and the athletes respond, then fall back. Competition does develop, and there is humour and scheming in the actions of the several performers. A delightful new tack for the company here.
Excellent as these pieces are, Tamsin Fitzgerald’s 7.0 is even more powerful. Tamsin visited Haiti a year after the earthquake, and found that only a small amount of the chaos and destruction left by the earthquake(7.0 on the Richter scale) had been cleared. Dust was everywhere. She felt she had to make some statement about this, and this work is the result. Dancers even at times become pillars of dust; there is a sense of devastation but also of effort made to recreate. The company’s great physical fluidity and their ability to make supportive human structures is in evidence here. This is a deeply accomplished and moving finale.
This is definitely the show to visit if you want to see contemporary urban dance at its finest.
Interno 10/B
Posted by Martin in C Venues, Interno 10/B, Joshua Hepple on August 12, 2011
DANCE
***
Interno 10/B
C Venues
This Italian dance group consisted of nine elegant female dancers. With a very basic set of six wooden crates, these girls managed to move through the space very smoothly. The dancers performed a number of different types of acts, including graceful solo performances to full cast performances. Unfortunately, in these scenes, the dancing became loose and did not seem to fit well on stage.
Towards the beginning of the performance, the girls moved without music. It was difficult to try to work out exactly what the girls were doing in this scene. They did not seem to flow well with the lack of music.
The music involved very nice, mellow, rhythmical beats that the girls did follow well and moved their bodies in time to the music.
The company had a strange taste in props – ranging from a scene where two girls ate spaghetti in synchrony; to shoes with springs on the top, that took up the majority of the initial scene of the production. Another unique twist in this performance was where the girls perform in the dark with torches on themselves. This focuses the audience’s attention straight directly on to the girls.
A nice, relaxing piece of dance but with no extraordinary features.
Flawless: Intergalactic Dream
Posted by Martin in Flawless: Intergalactic Dream, Joshua Hepple, Pleasance on August 11, 2011
DANCE
*
Flawless: Intergalactic Dream
Pleasance Courtyard
Flawless had flaws, many of them. From the hype Flawless received from Britain’s Got Talent I was expecting to be astounded, but I was far from it. I did not think that this group of dancers had any talent worth the £10 admission fee. Every dance move involved could have been taught to the average young person.
The performance was also broken up by a very poor, weak storyline about Flawless’ journey into space. This dreadful plot took up more of the time than the dancing itself. Between acts, the entertainment was miserable: a pre-recorded presentation where the audience performed a very trivial act with their hands.
If this intermission was needed for a costume change, then one of the members could have performed a solo act. Another point that let the show down was that some of the music was recorded straight from Britain’s Got Talent, so included the screaming over the music. There was no need for this.
I am not saying Flawless have no talent, nor are they completely flawed. I have seen them perform the right sequences on Britain’s Got Talent, so was disappointed that this was not represented in their Fringe performance.
Bang Bang Circus
Posted by Martin in Assembly, Bang Bang Circus, Joshua Hepple on August 10, 2011
DANCE
***
Bang Bang Circus
Assembly George Square
I did not know what to expect when I entered into this magnificent tent. This would be my favourite venue for its beautiful canopy and historic feeling, if it wasn’t for the absence of raised seating and lack of blackout in the day.
This performance consisted of around eight different acts, each doing a five minute set. The acts all performed some sort of physical ability from swallowing a sword to juggling to hula hooping. Individually I did not have a problem with any of the acts, but I did feel that at around £10 a ticket this is extortionate when you can see very similar acts on the Royal Mile for free everyday.
My favourite act was a smaller man from Zimbabwe who performed an excellent mime that involved being pulled around by his umbrella – he had covered himself in grey powder that gave a good visual effect.
The compere was uninteresting and did not seem to engage with the audience or ensure continuity between the acts. This however did not let the acts down completely because individually they were talented. Everyday the acts are different, so I suppose that it is difficult to comment on a show that’s varied everyday, I can only assume the standard and style will typical of this show each day.
Forgetting Natasha
Posted by Martin in Charlotte Monk-Chipman, Forgetting Natasha, Zoo on August 7, 2011
DANCE
***
Forgetting Natasha
Zoo Southside
Inspired by one woman’s struggle with dementia, ‘Forgetting Natasha’ is a ‘multi-layered performance using dance, poetry and digital media’, and the show would have been a much stronger piece of theatre, if they cut out the speech, as the standard of acting did not match up to the level of dancing. In attempt to create an innovative multi-media performance, the trio sacrificed the overall effect of the piece, and it was weakened by awkward monologues and flashbacks.
In one instance, there was a monologue performed over a beautiful duet, and I didn’t take in any of what was being said. Ironically, the first, last and only snippet of speech I caught was ‘I won’t remember any of it’, so they cleverly (but accidentally) transferred this feeling of memory lapse through their over-acted attempts to create poignant and moving theatre. The flow of the show was really slick and well choreographed against the multi-media score and these two components complemented each other nicely.
The stage was dominated by a gauze at the front of the stage and this was most effective when they utilised this with projections and video feed, in sync with their movements. Generally they successfully conveyed imagery and metaphor to strengthen the thematic impact of the show, but the ending was incredibly weak, and it seemed to have a habit of undermining itself.
In the Dust
Posted by Martin in Charlotte Monk-Chipman, In the Dust, Zoo on August 7, 2011
DANCE
*****
In the Dust
Zoo Southside
With an all-male strong cast of 8, ‘2Faced Dance Company’ brings a stunning and captivating contemporary dance piece with an electrifying vibe. The performance was structured into 3 routines each by a different choreographer, and although collectively the performance was inspiring and beautifully executed, I did feel that the middle phase felt stylistically out of place.
Thematically however, it took its ‘starting point from the emotion and spirit expressed by the Olympic Oath, Olympic Anthem and National Anthems’, which complemented the sense of unity, evolution and athletic nature of both Ballet and Breakdance; from which the performance drew inspiration. Their movements were strong and controlled, yet they created the illusion of melting into one another as they repeatedly intertwine and break apart, filling the space and travelling effortlessly to a tribal pulse.
These animalistic qualities were strengthened by the earthy costume colours, and the low lighting heightened their athletic stature and complemented the minimalistic aesthetic. At times, when they moved in unison, the synchronicity wasn’t as fluid, and the choreography was most striking when they were physically clustered and also the total stage picture was more interesting to watch when the movement took on the pattern of dispersal and retraction, always maintaining pace and captivating the audience.
It was inspiring, original and evocative, with raw talent and an incredibly slick tempo. I would pay to see this show again, It is a company to keep an eye on, but for now see this show!
Rock the Ballet
Posted by Martin in Assembly, Joshua Hepple, Rock the Ballet on August 6, 2011
DANCE
***
Rock the Ballet
Assembly
It could be said that rock and ballet are at the polar opposites of the dance spectrum though Rasta Thomas and his Bad Boys of Dance try to combine these. The audience loved it although dance critics do not. These 6 men are all extremely talented and beautiful to watch though the lack of choreography and structure doesn’t let the dancers reach their full potential.
It is also randomly Punctuated with segments from a black female to demonstrate a different style of movement. Digitally projected effects into the background brought colour to the performance even If at most points did not relate to the act. Acts included many infamous songs from singers such as ‘Queen’ and ‘Micheal Jackson’ which was received with much applaud and screams.
A fun hour of dance for all the family to enjoy, although maybe hot for anyone who wants to see a breathtaking dance show with much expertise in dance
Pinocchio: A Fantasy of Pleasures
Posted by Martin in Martin Walker, New Town Theatre, Pinocchio: Fantasy of Pleasures on August 6, 2011
DANCE
****
Pinocchio: A Fantasy of Pleasures
New Town Theatre
Austin McCormick’s bilingual operatic dance remix of Carlo Collodi’s classic delivers a mash-up of genres frequently seen fused on the Fringe stage, but rarely this well.
Pinocchio, the wooden boy, sets off for his first day at school, but an amorous encounter with an enchanting Blue Fairy, leads him astray. Burlesque, S&M and gay and straight sex form the backdrop to ‘Pleasure Island’, a decadent Venetian Carnival and depraved paradise, where Pinocchio is made to perform for spectators like a slave.
Baroque choreography, eclectic music, Pop Culture, Opera, burlesque, ballet, gender-bending, high fashion, and sumptuous design ensure that this feast for the eyes succeeds in entertainment that’s both highbrow and accessible. Cutting-edge, yet extravagantly classical. This will be enjoyed by most, though a basic grasp of the Pinocchio story will deliver the best results.
Seen during a preview on the second day of the Fringe run, there were sadly one or two sound problems. Also, as other audience members later commented, there were “some interesting lighting decisions”. One doesn’t usually come to the theatre needing a torch. Finally, the full stage, and therefore much of the action, couldn’t be seen by many in the audience in seats not near the central aisle.
However this was a Preview and these quibbles will be addressed. And when they are, Pinocchio: A Fantasy of Pleasures will doubtless be a five star show.
