Emerge Festival 18-22nd November- Review

Since 2012, Emerge has provided a unique platform for those who are curious, creative, and looking to come into their own as choreographic artists. Various platforms offer similar kinds of support and exposure to budding choreographers, yet Emerge is unique in offering its artists a full, week- long run of their work at The Space- a quirky and convenient Theatre located in East London.

Opening the second- to-last night of the third and final week of this year’s festival was Lee Griffiths’ Behind Every Man, a female quartet that certainly isn’t shy of a little grit. Legs spread, resembling in body and voice that of someone under a curse of intense physical torture, is how a single dancer introduces the piece. And the rest, after mounting themselves into shiny black pairs of platformed shoes which neatly await them on stage, are no less impressive at investing full body and intent into a work with deep underlining motives.  Hunched shoulders, twitchy heads and claw-like hands give a Batsheva/Shecter kind of flavour to the material, and multiple costume/prop fixes, a sense of absurdity. Powerful and poignant are these dancers, both as individuals and as a collective. 

It’s For You by Timothy Clark and James Morgan follows, and it has to be said that this is a duo certainly worth catching. Beginning kind of like a play with terrible acting, the pair seem confused by their mutual existence. But what comes to be is improvisation at its best, and the wittiest of parodies of what’s fit for the stage.  

A plastic bag and dustpan and brush drive much of the duo’s comical interaction, yet interspersed with verbal dialogue is also seamless, airy dancing. A hilarious injection into the programme, these are artists with fruitful prospects.

‘An autobiographical study that explores difficult and personal memories’ reads the programme note for Luke Brown’s 11:11. The set up is a little like that from a thriller- a dim lit room, a flickering TV, voices heard on a radio and an unsettling clown doll. But then there is Brown, who when moving in his snaky, whole-bodied fashion, brings about a vulnerability and delicacy to the eeriness. Melancholic this piece at times is, but consistent, not so much. The atmosphere is broken at points with absurd mimicking of the freaky clown, and contortions on an old wooden chair.  Us watching Brown watch a video recorded wedding is perhaps the only source that lends itself well to the written description of the work.

Mental illness is a reoccurring theme when it comes to choreographic stimulus, and when done badly, it makes the prospect of watching another slightly daunting. Having geared up for some heavy-hearted portrayal, it was surprising to instead be fully entertained, in parts, by Natasha Lee and her cluster of women in S.A.D? Getting down to Bob Marley, all smiles, and in pajamas was questionable (and delightful), but against the moments when heart, soul and a wealth of honesty were poured into depicting anxiety and self-doubt, it gave a vivid insight into the seemingly ferocious highs and lows of a mental illness sufferer. S.A.D? Incorporates many interesting facets and its messages are clear, I think it could have done without the unsubtle voiceover.

Brian Gillespie’s Interconnection is borderline one of those pieces that have managed to creep its way in to many a recent dance platform- that not being a bad thing. In silence on a bare stage, Gillespie explores his bare torso. Isolating, quaking, rippling, shifting, all under a wash that magnifies the slightest muscular feature. ‘An exploration of the body’s reaction to music’ is the description in Gillespie’s words, and while that is an interesting idea, visually it could be mistaken as an improvisation, in which the movement stays more or less the same and the music changes. Nevertheless, a pleasing an uncomplicated number all the same.

Promises, created by Emerge’s founder Adam Towndrow was no lighthearted conclusion to the evening. Instead, a politically driven, dense and hard-hitting duet which packs sincere domination and female prowess. Melanie Simpson takes a firm grip on the audience’s attention with her evocative presence as she stands centre stage, completely still, while Hayley Chilvers crawls and squirms around on the floor beside her.  The pair embark on a turbulent and ferocious journey by which we remain captivated. Chilvers masters dominance with a wholehearted investment, and Simpson, a vulnerability that’s truly moving. These dancers commit to their actions and motives to such an extent that their pain, sweat and fatigue is felt by all, and there safety is feared for. For once, gasping for breath is authentic- everything this duet is saying is believable. Promises, without doubt is deserving of much bigger stages and audiences. 

By Bryony Cooper 

Lest We Forget- English National Ballet at the Barbican- Sunday 06th April

Lest We Forget- English National Ballet at the Barbican- Sunday 06^th April

By Bryony Cooper

It is one thing to challenge a classical company to contemporary works by the likes of Maliphant or Khan, but to present a programme that incorporates that of both, and at a contemporary space like the Barbican, is a brave decision- and one that paid off.

Lest We Forget is a Porgramme that among much else, confirms that artistic director, Tamara Rojo has taken one hell of a leap of faith in the English National Ballet’s ability to turn corners and breathe a breath of fresh air into the ballet world. Created to commemorate the First World War, the programme is richly diverse, including three world premiers by Akram khan, Liam Scarlet and Russel Maliphant.

Scarlett’s No Man’s Land is the evening’s opener. A murky lit stage which in part represents the path to the frontline, and in part a women’s factory setting, perfectly homes the company whom throughout dance with so much heart and honesty that those little hairs on the back of the neck remain stood.

Duets by these mourning women and their heroic loved ones are ignited by delicate gesture and romantic touch. And despite the array of impressive lifts there is really need for nothing more. In a culminating duet, Esteban Berlanga and Rojo herself, captures perfectly Scarlett’s sense of the heartbreaking distance between. 

Second Breath by Maliphant is even further afield from ENB’s norm. With much less ‘story’ there is a real feeling of abstract, and the company looks completely at ease doing so. The work clearly establishes the dynamic of war, the regiment, the color, and the solidarity. Building in anguish and architecture, its groupings of dancers form and dismantle again as bodies are carried, flown and tumbled through the space. Accompanied by Andy Cowton’s audio, which tells of the many lives lost, Second Breath is a melancholic, paired down and powerful display.

And just as you think ENB cannot prove themselves any further as a righteous contemporary company, they are back with Khan’s Dust, which is nothing less than a masterpiece. The bare, muscularly defined back of James Streeter as it coils and jerks is a subtle opening image. The full company then proceed to walk with purpose to join him, stopping with a clap of their hands which fills the space around them with a residue of dust that entwined with their earth toned costumes, creates an authentic pictorial battlefield. We are then struck with a surprising force of groundedness that you might normally only expect from the likes of Schechter or Batsheva. In particular there is a prowess at delivering Khan’s fast paced and full-bodied gesture combinations with guts, groundedness and soul. No element of this work is masked by elegance or delicacy. Even in the heart-wrenching duet, every emotion is portrayed with truth and heart- truly a beautiful and captivating work.

George Williamson’s Firebird was also featured, though despite Ksenia Ovsyanick faultless performance, the programme if I am honest could have done without it.

Nevertheless, a must see programme by the English National Ballet, and after this I am intrigued to see what Rojo has in store for us next

Charcoal Movement-The physicality of drawing – Charlie Ford

15th-22nd February

Arts Depot Gallery

North Finchley, London

Visual Art isn’t always seen as the most accessible art form. However, over a week long period Arts Depot’s gallery has been transformed from a sparse blank canvas into its first interactive studio forum, where those who come to see not only get to be witness to the creation and development of a work but also get the opportunity to be creative alongside the artist.


Charlie Ford, a former fine arts student and recent dance studies graduate, has merged the mediums of art and movement to conceive a concept, which through the use of charcoal, graphite and other fine art materials ‘documents, preserves and recalls sensations of the body in improvised motion’. Creating new ideas about the creativity of the body and physicality of ‘mark making’, Ford has finely tuned elements of the separate art forms achieving unique collages of abstract ‘marks’.

Ford spends an hour on and an hour off, culminating in a four -hour day moving and drawing on one large canvas. He absorbs his audiences in a creative journey where his focus is solely on exploring what his motion can achieve on paper. What is interesting is that the dynamics of Ford's improvised movement, in collaboration with his emotional agenda, clearly dictates the shape, texture and continuity of design.

Fully immersed in his work, he is no less part of the canvas than the black chalky lines that he imprints. His focus and energy creates a meditative atmosphere for himself and for his onlookers, yet he is happy to be approached by the curious audience, removing the boundaries between his practice and performance.

Surrounding Ford’s own workspace is a number of smaller slate boards, allowing the public the opportunity to have their own physical experience; an element that on both days that I attended the performance was as impressing to the adults as it was to the abundance of enthusiastic little artists, many of who were eager to imitate Ford's approach.

A highly accessible exhibition with beautiful outcomes displayed at the end of each day. More exhibitions like this could really be key to getting more people- the young ones especially- moving and creating.

 By Bryony Cooper

'Women’s Tales'- Ieva Kuniskis at Resolution! 2014- Review

6th February 2014

Robin Howard Theatre

The Place, London 

A window into the lives of four long-lived women is how Ieva Kuniskis’s most recent choreographic masterpiece can be described. Though with a similar quirk to her previous work Gone to Get Milk (plant pots, torn paper and hair washing replace oranges for instance), Women’s Tales seems to have much more depth and heart to it; a heaviness that lurks but that doesn’t depress.  

Perched on a bench, Rachel Burn is the first to begin unraveling her story. Repetitively tangled in her long, finely tuned, slightly double jointed (?) arms, she seems ever so slightly retained; helpless to the point that even hearty Helen Aschauer insists on bathing her long locks for her.

Padurariu Andreea, (the actress among the group) on the contrary, seems somewhat content in her world. On a chair in the background she sits for much of the piece tearing up paper, a metaphor maybe for something or someone that’s better off forgotten. And then as she leaves the chair and begins an enticing interaction, the window is removed from its frame and she draws us in a little closer.

Victoria Winter is an intriguing one, placid and secretive but her subtleness speaks volumes. And if they were playing the dysfunctional family that at times they look like they could well be, then Helen would be the older sister- troubled and feisty.    

Kuniskis has created a collage of pure satisfaction. Each story insightfully presented, and overlapped with such perfection that there are some real moments of magic. An array of earthly toned, simple dresses and skirts adds a dated feel to this small cluster of women, and the Lithuanian folk music which in part they come to sing, a real sense of community. 

Women’s Tales is a great piece of theatre, simple, well constructed and relatable, but with still enough mystery to allow us to ponder.

Resolution!-'Threshold'- Rachel Burn

                                  

The Place, Robin Howard Theatre 

Thursday 29th January

By Bryony Cooper

My third outing to Resolution! And I have to say that what it has offered so far hasn’t been overly impressing. In fact I’m baffled as to how some of the artists have been deemed 'the best in ‘emerging’… until seeing Rachel Burn’s Threshold.

Set on the blank canvas of a black space, Threshold leaks all of the delicacies, intricacies and power that its inspiration- the poetry of Walt Whitman- employs. Clad in a variety of black dresses, three females (including Burn herself due to a last minute injured dancer) journey around the space and each other twisting turning and rolling, creating a multitude of densely textured group sections, duets and solos.

A particular highlight is when Burn takes up position on the back of Anna Pearce, who maintains a sturdy base on the floor. A long stretch of white material that Burn wears with elegance hides Pearce and allows us the visual of a seemingly levitating figure. Mesmerizing is Burns confident and enticing gaze, along with a few subtle gestures that are repeated from earlier on.

Threshold is powerful, detailed and intriguing, and is complimented beautifully by collaborator Renu Hossain’s varied musical composition.     

Saturday the 6th of July, Cloud Dance Festival: Lacuna

Saturday the 6^th of July, Cloud Dance Festival: Lacuna

Two years since Cloud Dance last provided a festival formed platform for the abundance of emerging choreographic talent, but they returned on Saturday the 6^th of July for their second evening at the intimate Bernie Grant Arts Centre in north London to present Lacuna, a programme highly anticipated and certainly one of all sorts. 

 ‘The timeless beauty of classical technique with a passionate modern twist’ is indeed one-way to describe Timeless, the evening’s kick-start.  The multi-talented Merritt Moore and BalletBoyz’ Adam Kirkham embark on a passionately delicate exploration of beautiful line and tender encounter and while doing so, astonish with their effortless ability to achieve eloquence and vigour simultaneously.  

 The spirit of this duet brings joy in itself, yet under the light wash Moore tantalises with her admirable poise, control and true classical line. Kirkham, not dissimilar, impresses as a firm facilitator of strength and subtle sensitivity as he lifts, supports and embraces Moore in a variety of manor.  This divine duo achieve with great effect, a satisfying balance of harmonious unison and daring interaction, and while exploiting the ‘timeless beauty’ that informs much of this piece’s physical content, the pair do well to challenge the fluidity that one might expect it to employ.

 The stage in Gary Rowntree | Dance’s aptly titled event, The Light, is dark and seemingly in complete abandon until a large floodlight manipulated by a faint silhouette reveals differently. Entering from upstage the figure slowly sheds light in to the space, and then on to what looks like a naked body, that lay vulnerable in one corner.

 The light seems to act as a tool in revealing how one secretly lives uncomfortable in their own skin. Oona Doherty in the most abstract fashion delivers a stunningly intriguing performance as she delves deep in to the task of exploring and presenting a complex humanity.  Writhing through the space like a lone animal in all manor of slides, dives and shifts, Doherty, when the light is agile enough to capture her, offers us not only an insight into human struggle, but also a unique perspective on how the body continues to evolve as being a vehicle in creating the most beautifully striking art. 

  Timed wisely to follow Rowntree’s mesmerising solo is John Ross’s Wolfpack (a sneak preview). Firstly, it is refreshing to see four male dancers own the space, even if they are representing nothing but the typical ragged young male, but more importantly a bit of light-hearted humour can never go a miss. This quartet begins with a series of enticing tableaux’s, referencing with literal but quirky gesture how the stereotypical male seems to conduct himself once under the influence. Amongst some authentic drunk guy jigging the pack also treat us to some glimpses of Saturday night fever which following suit with the rest of the piece is humorous and cleverly pitched to say the least.     

 Kajdi’s M/S. P/E  (Metamorphosis/Soldiers Poem/Experience) unlike the concept is somewhat subtle. A large projection of the media’s take on world issues accompanies a lone figure sat on a chair. Her multi-directional reaches, matched carefully to the repetitive piano beat hint at a sense of anguish and frustration. As numerous dancers appear the simple content is repeated, developed and manipulated into various groupings.

 The second of Kajdi’s three episodes is perhaps the best. Two black clad male dancers with satisfying energy, athleticism and precision invade the space as they revolve, lift, fly and jump. The duet with resembling regimentation speaks effectively of the experiences of being a soldier.                 

 A single silhouette proceeds to escalate into a stage full of two-toned green dresses as the cast of Hannah Saotome’s Sombras do Tempo (shadows of time) revel in presenting a range of interestingly designed formations, intriguing gestures and dynamically fluid movement patterns.

 Effective tools are used on the part of Saotome, which achieve some unique physical, visual and musical happenings. The dancers unite in attaining a sound technical ability, which they deliver with both power and elegance. To end the costumes are removed leaving the collective vulnerable as they resemble with clarity, one’s sense of purity and self.   

Seemingly the most anticipated event of the night was Raymond Chai’s Unbroken Silence. Melanie Lopez and Oliver Freeston battle with power and passion against a constant flux of ‘attraction and rejection’. Demonstrated by both is Chai’s masterful desire for impeccable technique, but that said there is no hindrance to the quirky contemporary visual. The music, which has a way of invading the theatre, replicates Lopez and Freeston’s captivating presence.  The piece ends as the pair, like magnets, reluctantly force themselves to repel and part ways.             

 Profusely leaking from James Finnemore’s In The Dry is Maturity and modest sophistication. Each time initiated by a hunched back and a slow descent, Finnemore subsides to the pull of gravity and then clambers to his feet to start the process again. With his Schechter experiences firmly in tact, Finnemore seamlessly pervades the space, creating a somewhat mysterious but gentle atmosphere for the onlooker. Playing up to nobody and refreshingly in sync with his inner dynamism, he effective creates a presence that coupled with a rich multitude of physicality makes for a mesmerizing and winning work.

 To draw a close to the evening, John Ross returns to present his Solo, Man Down. A striking performance is delivered as Ross tells of  ‘a true story of a soldier sent to Afghanistan who never came back’. With clarity and truthful gesture we are given insight into a world where one braves an every day storm on the front line to protect his country, and then for him and those around, we see the consequences. Gunshots and news reports make for a realistic audio accompaniment and as the tension builds, in both movement and atmosphere, it can’t be helped but to ponder about the many to whom we owe are own lives.

 Despite the somewhat gloomy ending, an enjoyable evening was had all round. The programme offered something to all and the choreographic and performance talent was outstanding. Cloud Dance evidently returned with a promise to please, and that they certainly did.     

Reviewed by Bryony Cooper for Cloud Dance Festival

'Petite Mort' English National Ballet

Shortly after the curtains went up to present Jirí Kylián’s Petite Mort (1991), I feared, for a brief moment, that I was becoming witness to another of those ballets where the dancers remain firmly guarded behind their own gaze. Fortunately these fears promptly vanished as I became captivated by six of English National Ballet’s male dancers as they executed, with exquisite timing and precision, an array of complex manipulations of a fencing foil. Clad only in some slightly distasteful flesh-coloured briefs, the sextet’s impressive musculature and noteworthy technique battled continually for my attention.



Photography by David Jensen
http://www.flickr.com/photos/englishnationalballet/sets/72157633277889183/

Accompanied by one of Mozart’s most familiar piano concertos, six vertically positioned females lay (also in flesh coloured attire) awaiting their male companions as they rid of the material that disguised their entrance. On their return, the six couples began their embrace in an indirect, yet certainly alluding sensual interaction comprised of interesting lifts, supports and varying physical intricacies, presenting, with clarity, both sexes undeniable virtuosity.
This ballet, though somewhat difficult to comprehend conceptually, is not without wit. The females appear from the dark as if dressed in long black gowns which in fact are revealed to be gowns on wheels. The dancers cleverly use these to swiftly revolve around each other, and to move through interesting pathways across the stage; dead-pan expressions only enhance this humour.
Though new to English National Ballet’s repertory and style, Petite Mort was executed perfectly. They say save the best until last, but there is no doubt that this piece was by far the best of the company’s triple bill.

Bryony Cooper  for English National Ballet's Danceistheword blogg