Before the show proper, we were treated to three short contemporary dance pieces by three local training academies. (two in the foyer and the third on the stage). Emergence Dance is all about cooperation, and as an ex-student of Salford university himself, Joss Arnott is keen to establish links with local young emerging dancers and companies. We therefore witnessed ' Still Waters Run Deep' from Chamelion Youth Dance - 17 dancers between 15 - 21 years old, created a fluid and energetic ensemble, with lovely unison work and evocative piece of tight and secure dance-theatre; 'ZEN' by WN Dance Company - 4 teenage girls create a funky and punchy, visually interesting contemporary routine; and 'The Earth That Always Hums' by Salford University BA Dance students - creating some lovely pictures with this group of student dancers, with particular reference to the superb use of Laban's fast / slow dimension.
Without a programme, I am now struggling somewhat, so the only credit information I can now supply was on a piece of paper attached to the wall of the theatre. Emergence's first piece was 'Chimera' by Sofia Napp. A Spanish guitar plays whilst two dancers come together in tango-esque style. It is playful and inventive, their games augments as more dancers join them and this suddenly changes into a low, reverberating restlessness. The company are one writhing mass, which becomes jubilant in a full unison piece of choreography before we ultimately end up with a Spanish guitar music and a different solo dancer moving to the beat as the light dims to blackout. An interesting piece of dance-theatre, obviously telling a very strong narrative, with the dancers responding well to Napp's vision.
The second piece from Emergence was '153 8s' by SAY (Sarah Golding and Yukiko Masu). Dressed in pseudo tartan 'kilts' and trews this piece started not with a whimper but a bang and a leap - a fast and furious and highly energetic start, almost tribal in style. The lighting design here creating beautiful silhouettes whilst the ethereal dance that followed the opening contrasted nicely with the modern throbbing beats of the music chosen.
The final piece, and the longest of the three was 'Euphoria' by Joss Arnott and Lisa Marie Robinson. (with costumes designed for this piece by Salford University students). There is an electric current going through this piece with use of robotics, physical theatre and a little humour, a gentle and effective pas-de-deux happens half-way through in between the more up-beat and full company sections, and the whole finishes with a solo pastiche of Chaplin's 'Smile'.
In many ways, all three dances were remarkably similar. All combined a similar juxtaposition of various rhythms, speeds, etc and kept a good variety of solo, duet, ensemble and company routines within their works. All three utilised (to a greater or lesser extent), mime, physical theatre, ballet, gymnastics, breakdance, street dance, hip-hop, etc, whilst all three utilised a mix of ultra modern pulsating throbbing beats pitted against more traditional and obvious pieces of dance music. What impressed me the most however, was the lightness of the dancers' bodies. Even when the full company were onstage leaping about and stomping, I was unable to hear anyone's footfalls, the landing on the stage was completely silent. Indeed, their poise and precision was remarkable throughout. Their co-ordination, even the very smallest or insignificant of gesture was exact and deliberate, and their understanding of the stories they were telling with every part of their bodies thrilling. My only slight reservation was that I did not see any of this in their eyes, just concentration. The lighting design throughout creatively aided the narratives and thought processes without distracting, and sound levels were good.
Superbly danced by performers at the very peak of their physical prowess.
Reviewer - Alastair Zyggu
on - 28.3.25
No comments:
Post a Comment