Hofesh Shechter, Uprising/In Your Rooms, Sadler's Wells

londondance.com - Lindsey Clarke, 28th September 07

Performance: 28 - 29 September 07

The climax of Hofesh Shechter’s unique commission to create a new work and develop it over three instalments at London’s premier dance venues was abuzz and sold out at Sadler's Wells on Friday. There was even a glossy programme with hot snaps of the expanded, young and sexy cast. Uprising, of course, has had its Sadler's Wells debut when it was presented as part of the wonderfully diverse Sampled programme back in February. Here again it is absorbing, dramatic and amusing, if lacking in depth. The all male cast look great inside Shechter’s loping, grooving, tussling, struggling shapes. Shechter, himself, is on fine dancing form; leading by long-sleeved example.

In Your Rooms, as was expected, has transformed again since the QEH presentation in May. What is totally unexpected is the shift in styling. Gone are the uniform combat fatigues that made the cast appear like post-apocalyptic foot soldiers of humanity. This cast are in individual, casual clothes and the effect is deleterious. The uniformity of the combat gear was powerfully suggestive, offering anonymous figures both isolated and damaged, yet inextricably linked to each other.  There are two additional dancers in this version but the military overtones have gone and sapped some of the power from the piece.

The live soundtrack is exciting and atmospheric with the band visible and suspended in the backdrop and there are stellar performances from the cast who all throw themselves into Shechter’s vision. Still, the muted sections where the cast sit obsessively tracing points on their bodies and the floor, wrapped in their own concentration, works well and the opening section is better choreographed than in its original, flickering conception; although there is an overly explicit referencing of Uprising, to no obvious artistic effect.

Feminised in this iteration by costume, the female dancers still miss out on the best choreography which is thrown at the men. In previous incarnations the women looked best when, anonymised and military, they were on a level with the men, punching the air in shared protest or creating punchy, circles, battling with inner demons. In skirts they’re even less effectual than before and it’s a shame Shechter hasn’t taken advantage of the full range of the supremely talented female dancers at his disposal.

Theatrical elements such as the drawing of the line in flour across the stage and the notorious “Don’t follow leaders” sign are still there. The former diluted and much briefer than originally conceived and barely speaking at all as a result and the latter, which sends an amused ripple around the audience, still lacks either sophistication or the smack of satire.

There are snatches of goodness; kernels of powerful images and concepts at work in In Your Rooms but progression over the three venues has not been linear and, frankly, why should it be?  The commission has provided an emerging artist with a unique and ambitiously progressive platform which was always a high risk strategy. Fortunately, Shechter is popular enough and crowd-pleasing enough in many ways to be able to call this project a success. Certainly, the Sadler's Wells audience received the double bill very positively and it is difficult as someone who has followed the work on its journey to watch its third iteration with fresh eyes. Overall, though, In Your Rooms feels like a flawed work with much potential - still a work in progress and not the finished article.

Members - Libby Costello, 29th September 07

Performance: 28 September 2007

The brilliance of Shechter’s choreography relied upon the key to every solid piece, simplicity. The dancers had something to say and said it, through movement that could speak volumes. The performance showed us a choreographer that understands the subtleties of human movement, drawing upon the everyday and pedestrian but not in a postmodern watch checking way. The drop of a shoulder summoned up the image of a city worker edging his way through a crowd, or the polyphonic rhythms seen throughout the dancers bodies drawing upon street dance styles without utilising tired clichéd movements.

The two works on display at Sadler’s Wells, Uprising and In your Rooms, on the 28 September showed not only choreographic talent but also some excellent dancers. The all male Uprising showed a truly male work with the movement made for boys only. The use of primitive monkey-like travelling steps with a low centre of gravity stylised this work, movement especially well executed by Christopher Evans and Phil Hulford. The dynamic use of music and lighting accosted the viewer from the fist beat, a truly visual bombardment for the audience.

The organic movement of Uprising with it’s tribal element needs to be seen a large stage in order of the visual wonder to work its spell. This is the type of work that would educate and inspire the dancers of tomorrow.

The second piece, In your Rooms was an impressive display of moment whether you focused upon the dancers or the musicians, who were elevated upon a platform at the back of the stage. The battle for attention was set up between the musicians and dancers from the off. Shechter’s original idea of lack of communication came across well but the most interesting choreographic moments came from the use of changing formations. The sequences flowed between directions, groups and facings with the movement being initiated by different dancers at all times, reminiscent of the ballets by John Cranko. This choreographic idea was cleverly brought together by a single male dancer standing with a placard, the fist side stating ‘Don’t follow Leaders’, a statement which in present times has huge political connotations, but once flipped stated ‘Follow me’.

This choreographer has definitely grabbed attention with these two works, a must see name for the future.

Members - Libby Costello, 28th September 07

Performance: 28 - 29 September 07

The brilliance of Shechter’s choreography relied upon the key to every solid piece, simplicity. The dancers had something to say and said it, through movement that could speak volumes. The performance showed us a choreographer that understands the subtleties of human movement, drawing upon the everyday and pedestrian but not in a postmodern watch checking way. The drop of a shoulder summoned up the image of a city worker edging his way through a crowd, or the polyphonic rhythms seen throughout the dancers bodies drawing upon street dance styles without utilising tired clichéd movements.

The two works on display at Sadler’s Wells, Uprising and In your Rooms, on the 28 September showed not only choreographic talent but also some excellent dancers. The all male Uprising showed a truly male work with the movement made for boys only. The use of primitive monkey-like travelling steps with a low centre of gravity stylised this work, movement especially well executed by Christopher Evans and Phil Hulford. The dynamic use of music and lighting accosted the viewer from the fist beat, a truly visual bombardment for the audience.

The organic movement of Uprising with it’s tribal element needs to be seen a large stage in order of the visual wonder to work its spell. This is the type of work that would educate and inspire the dancers of tomorrow.

The second piece, In your Rooms was an impressive display of moment whether you focused upon the dancers or the musicians, who were elevated upon a platform at the back of the stage. The battle for attention was set up between the musicians and dancers from the off. Shechter’s original idea of lack of communication came across well but the most interesting choreographic moments came from the use of changing formations. The sequences flowed between directions, groups and facings with the movement being initiated by different dancers at all times, reminiscent of the ballets by John Cranko. This choreographic idea was cleverly brought together by a single male dancer standing with a placard, the fist side stating ‘Don’t follow Leaders’, a statement which in present times has huge political connotations, but once flipped stated ‘Follow me’.

This choreographer has definitely grabbed attention with these two works, a must see name for the future.

Press - Jenny Gilbert, Independent on Sunday, 7th October 07

Performance: 28 - 29 September 07

Press - Luke Jennings, Observer, 7th October 07

Performance: 28 - 29 September 07

Press - Debra Craine, The Times, 2nd October 07

Performance: 28 - 29 September 07

**** 'What is so remarkable is how fluid the phrasing manages to be, and how mesmerising its dynamic.'

Press - Judith Mackrell, Guardian, 1st October 07

Performance: 28 - 29 September 07

**** 'the work is choreographed with such verve that its effect is almost ecstatic. Shechter possesses a ferocious sense of rhythm, and with his own score amplifying the choreography's pulse, the stage thrums with energy.'

Press - Mark Monahan, Telegraph, 1st October 07

Performance: 28 - 29 September 07

"With two newly added dancers giving it extra heft, and the large Sadler's stage at last giving it room to breathe, it [In Your Rooms] snaps between abstract vignettes and images with the speed of a cinematic jump-cut."