The Young Associates' Mixed Bill introduces emerging choreographers to Sadler's Wells' audiences, showcasing a diverse range of artistic talent as they embark on their careers. These four very different performances were created by Magnus Westwell, Vidya Patel, Olive Hardy and John-William Watson.
The first piece entitled ‘Landscape With Flying Man’ is the work of Scottish-born choreographer and composer Magnus Westwell, described as “working at the intersection of dance, music and visual art”, and performing their work across a wide range of venues, including clubs and festivals. Exploring the experience of being “queer and neurodivergent” as well as themes of “ectasy and emptiness”, this was a superbly crafted and executed piece: three male movement artists (Connor Scott, Konrad Plak and Max Cookward) in striking leather ‘kilts’ giving a hautingly powerful, fluid, beautiful and at times disturbing performance. For me, the multiple dimensions of the ‘trio’ was at its heart alongside the juxtaposition of the extremities of life - from the ecstatic highs to painful, desolate lows. Against Westwell’s incredible own musical score, cello samples from the playing of Lucinda Chua were used to electronically create highly atmospheric soundscapes. This was a memorable introduction to the work of a multi-disciplined artiste who has undoubtedly an extraordinary career ahead of them.
The second performance entitled ‘When Life Gives You Melons’ by Birmingham-based choreographer Vidya Patel, explores hard-hitting issues surrounding the treatment of women in South Asia, with an audio visual recording at the start, juxtaposing images with transcribed dialogue detailing female infanticide in the state of Gujarat, India. Four dancers (Aishani Ghosh, Tulani Kuyani-Skeef, Nandita Shankardass and Chandenie Gobardhan) embarked on a surprisingly naturalistic beginning as we were seemingly introduced to four young women going about their daily routines. As the piece transitioned into the elation of escape from the mundane, with horrific consequences, the choreography took on a greater complexity, experimenting with different moods and tempos - nicely balanced with an expansive, high energy use of the space juxtaposed with lower-key moments, such as a poignant section when each lay isolated in their own pools of light. Although it was perhaps at times less demanding on the performers, the piece succeeded in conveying a strong sense of both narrative and setting - not least owing to the evocative lighting design of Ryan Stafford, and Sarathy Korwar’s South-Asian-inspired musical score.
Bristol-born choreographer, Olive Hardy’s piece, was ‘I Wonder If You Know What I’m Talking About". She is an artiste known for “using improvisation to find a movement language innate to those performing the work.” Her work certainly had a very immediate feel to it with collaborators and dancers Annie Edwards, Bun Kobiyashi and James Olivo either contributing or performing in this high octane two-hander. Edwards in particular had an instinctive, visceral energy on stage that she sustained almost without taking a breath for the entire duration: a very refreshing experience to witness, with undoubted links between the piece’s title and her own experience of attempting to communicate in a challenging world. The ‘whirling dervish’ element of the dance gave a significantly frenetic, dark and wired dimension to the piece, as the two dancers responded to and weathered their experiences - with Samir Kennedy’s unrelenting soundtrack providing the score. By the end of it we were both energised and exhausted in equal measure!
Finally and in complete contrast, John William-Watson showcased his piece ‘This Is Not A Penguin’. Originally from Leeds, he is greatly influenced by his experiences as a gay and working class artiste, in this piece “exploring the existential themes of isolation and mortality through the lens of absurd, dead-pan and silent film-esque humour.” With a defined setting and period of an Antarctic research outpost in 1958, the two female performers (Beth Emmerson and Heather Dirley) were a veritable double-act in this highly cinematic, entertaining piece as they paced around the outpost’s desk in striking 1950’s (male) attire, designed by Joshua Cartmell. In part, investigating the tragic phenomenon that penguins, with a form of derangement, leave their colonies and disappear into the mainland Antarctic wilderness, this was a compellingly shaped and delivered piece, successfully juxtaposing theatrical elements of clowning and slapstick with a sense of precision-timed movement - given further filmic dimension with Ethen Ardwinkle’s sound-design. ‘This Is Not A Penguin’ was an inventive example of fusing a range of artistic elements, with a unique and memorable style emerging from its highly inventive choreographer. Reviewer - Georgina Elliott on - 23.11.21
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