Best of all was Phaedra, where soprano Allison Cook was immersed in the dance, and became part of it. She caught wonderfully the queen’s distracted passion, her lonely figure hemmed in by a sea of accusing dancers, as implacable as a Greek chorus.
I love the way Earthfall’s fine performers get under the skin of the different residents. Ros Haf Brooks switches from fey, flighty girl in a Victorian dress to a leather-coated dominatrix without a hint of cliché.
For history buffs, there are clear references to the hotel’s actual past, woven into the recorded text and in some of the movement’s imagery. But what makes this small-scale show feel so large and resonant is the detailed eloquence of the live performances.
The challenge has been to integrate two different ways of moving, the stylised movement of trained dancers and the more natural movement of a singer- more natural yet also more constrained... Continue Reading
Performance reviewed: 27 Ocotober 2013 A short, sweet capsule of undulating contemporary moves and acrobatics, neatly gift-wrapped into a tale for young children, of a little girl exploring her woodland environm… Continue Reading
At a tiny 50-seat venue, the curiously named Blue Elephant Theatre, tucked away in the back streets of Camberwell, Mari Frogner’s latest work was performed last week.Retrospective aimed to explore the transiti… Continue Reading
The violence implicit in their relationships, and in the thrilling clamour of Stravinsky’s score, is embodied in the hurtling jumps and falls that break through the hard-edged patterns of Preljocaj’s choreography.
Undeniable is his energy in manipulating bodies, which determinedly mope, rush about. But more resistant to comprehension is the purpose of this wit-numbing affair, with its mood-swings, its frenetic gestures, its arbitrary manner, its wearying incidents.