DANCE REVIEW: Verve: A Triple Bill - The New Adelphi Theatre, Salford.

Verve is the professional touring company of post graduate students of the National School Of Dance, and consists of 14 unbelieveably flexible and tireless dancers. In this their latest offering, they perform three 20-minute pieces with a short break between them. 

Sadly without a programme or even any information on their website, I am at a complete loss to be able to mention anything more than I shall do over the course of this review. For a company as renowned and talented as this, and to take the tour to 11 UK venues over the course of 4 months, there should be much more information on the dancers and dances readily available. All I know is that one of the three pieces was titled, 'Vertical Road' and choreographed by Akram Khan, whilst the titles of the other two are unkown they were choreographed by Sita Ostheimer and Alesandra Seutin.

The three dances were all contemporary dance, a genre of modern 'ballet' which has become extremely popular over the last few years. The dances tell a story, although often, as was definitely the case with these pieces, the interpretation of that story is up to the individual. For me, the three pieces were linked as we saw dances from three mythical or imaginary otherwordly people: The Undead, ghosts and Gods.

In the first I was watching the undead dance in the dark and semi-light, whilst as soon as it became light they scurried off and didn't return until the lights had dimmed again. Dressed in colourful tops this effect was reinforced when we finally did get enough light on stage to see them in any real and meaningful way. The internal rhythm of the dancers was most impressive as for the majority of this piece the only 'music' they were given was a single low-pitched drone which varied in volume. Great fluidity of movement and unison work throughout, and some of the shapes created, despite the dimness of the stage, were clever and pleasing. The central section which was much more in the style of Hofesh Schechter, where we hear tribal drum rhythms, there is more light, the dancers have more movement to do, using folk dance movements where the pace becomes more and more frenetic, even perhaps murderous, was the most successful part of this piece for me.

In the second piece, the connecting theme was continued, as here we saw ghosts. Shadows of war victims or asylum inmates. All dressed in clinical whites with bandages, most having their eyes completely covered or in shadow. A voice-over speaks about feelings, being in love, whilst one of the dancers uses a microphone to speak unintelligible French and sing something which again was sadly not understandable. We couldn't make out the words - nothing was distinct enough. The dancers used voiced breath and guttural ejaculations to great effect during the piece. These ghosts tell their story, and it becomes a ritualistic celebration which ends in a jazz piano sashay where they take their 'masks' off as the lines from the jazz singer (prerecorded) sing about what it means to be free.

The final piece was for me the most exciting, the easiest to interprest, and by far the most visually satisfying. The theme for me continued as here I clearly saw Gods on Mount Olympus. Safe and secure in their phalanx, as they cast out one of their Gods who despite him trying to re-enter the group, they go to extraordinary lengths to mischievously tease him, before abondoning him completely. Even one young goddess who obviously had feelings for him, leaves him alone at the end too. In this piece the music, sound, costuming, lighting (very creative), the pictures, the images, the use of space, and indeed the actual dance steps themselves, all came together for a thrilling and exciting piece of contemporary choreography. 

The 14 young dancers involved gave their absolute all to these pieces, and their skills should not be underestimated. It was such a shame that we had no idea what the pieces were or indeed what they were supposed to represent. 

Reviewer - Matthew Dougall

on - 29.3.22