DANCE REVIEW: Grand Finale - Hofesh Shechter Company online

Time for a performance which could not fit into one particular box. “Grand Finale” has previously been described as part dance, part gig, and part theatre. A multifaceted piece of dance theatre. The show has been nominated for awards, including an Olivier Award and has won them too, such as Production of the Year by Tanz Magazine. Of course, the choreography and music was by Hofesh Shechter.  

With this being a contemporary style of dance, the approach was different. Placing an emphasis on the devising process and organic creation of ideas and dance motifs. The audience was implicitly asked to read into the visual and auditory elements of the performance to interpret any narratives, symbolism, and meaning. What is consistent though is that the choreography is tribal-inspired. The world of the performance is dystopian, perilous, and rapidly declining. Occasionally, there is a glimmer of light, joy, and innocence. “Grand Finale” is comprised of a multitude of component parts, production elements, and fragmented motifs. Tied together by this aesthetically-pleasing world brought to life by the performers, set, lighting, sound, and live music.

The ensemble of dancers were committed, focused, and demonstrated athleticism. I could see influences from other physical theatre style companies such as Frantic Assembly. The language of the movement was certainly varied; it was circular and angular, quick and slow, big and small. Featuring falls and lifts, isolated and unison movement, use of hands and arms, push and pull, up and down action patterns. Swimming through various styles, the choreography screamed war and conflict when the soldier saluted, the stress and strains of life, as well as highlighting the dichotomy between life and death. The partner sequences involving one partner manipulating the limp and corpse-like body of another dancer was haunting and memorable. It was wonderfully universal because there was no speech. Just action. Referencing the “part-gig” aspect of the performance, sometimes the choreographic style could be likened to elegantly organised chaos. It was physically demanding choreography but the ensemble rose to the challenge.

As I wrote earlier, Tom Scutt’s design was beautiful and distinctive to the company. The costumes included shirts and trousers of various colours like white, beige, and brown – complimenting this bleak and brooding world. The towering blocks formed intimidating shadows and elicited feelings of claustrophobia. On the whole, the lighting by Tom Visser featured the colours of white and blue, sometimes warmer colours. Spotlights lit the performers and set from behind and top-down generating tension and conflict. You got a sense the stage lights were slowly pulsating. The music was neither the star of the show nor underscoring the action. It effectively played its part in manipulating the emotions of the audience at the right moments. Stylistically, it was more about the chords and harmonic progression when compared to the melody, nevertheless it fostered a rousing atmosphere.  

In summary: “Grand Finale” was filled with beautiful imagery, nuanced choreography, and fragmented ideas. I wouldn’t say it was a “grand” finale, but a finale production that was done very well.

Reviewer - Sam Lowe

on - 21/9/20