Before I write about the performance of Verve, allow me to briefly mention a short pre-show foyer performance by students currently studying contemporary dance with The Lowry Theatre's CAT Programme. The first of the two short pieces was, 'The Graduate Solo Suite'. and was danced by seven of the current graduating class (meaning they were 17 / 18 years old). The seven worked superbly together as a fluid ensemble, whilst each member had their own solo within the piece. It flowed nicely with the dancers completely focused, their timing precise, and they danced with seeming ease. The second piece, using a larger ensemble of 19 dancers - these were aged between 13 and 18 and again members of The Lowry's CAT Programme - performed their own work, 'Radi' ('Roots'), choreographed by two of their company. Starting in amongst the audience they slowly created a twisting writhing mass in the centre of the stage, this quickly morphed into a more up-tempo rhythm with the dancers in a circle performing ritualistic and tribal dance styles. The work was visually satisfying, with some lovely floor work but the up-tempo nature of the music suggested a more joyous interpretation than the students' highly concentrated "poker faces" belied.
The audience were then invited into the main auditorium for the main presentation to unfold. Verve is the professional touring dance company of Leeds'-based Northern School Of Contemporary Dance (NSCD), and as such these dancers are still in the first flushes of their chosen career. A full company of 16 dancers who hail from all over the world had been chosen for this year's tour, and they presented three very contrasting pieces this evening by three new, exciting and up-coming choreographers.
Contemporary Dance is perhaps the most abstract of all dance forms. It is not ballet - at least not in the classical sense, so does not (often) tell a linear story. Nor is it any of the dance forms which come out of the tribal and ethnic traditions / cultures which tend to be (but not always) dances for either a specific purpose, or just simply for the pleasure of dancing. Contemporary Dance therefore sits somewhere between the two (and even incorporates elements of both), and although the dancers themselves will have a very clear understanding of their story, their place within the story, and what they are dancing and why, it is also understood that every single audience member will leave the theatre with their own individual impression and interpretation, sometimes diametrically opposed to to each other. This is both its blessing and its beauty, we can take from it as much as we are able and it effects us in our own ways.
The first piece, 'Let Me In' was choreographed by Luca Signoretti, and using some quite self-effacing humour asked both dancers and audience, "why do I choreograph?" to what do I want to get out of my choreography?" In order to do this he demanded much from his dancers. They had to act, speak, mime, etc adding a new and interesting slant on another question, "what is dance?". The opening sequence turned into a throbbing, pulsating unison ensemble. Some of the choreography here was quite reminiscent of Hofesh Schechter - there was a beautiful but violent authenticity to the work; but it was the denouement using black, underlit umbrellas which was the most striking, and also Signoretti's most personal part of the piece. The strange dental mouth gags at the end with unnatural forced smiles was unnerving.
The second piece was much shorter, using only 8 of the cast. This was 'Lotus' by German-born Vietnamese choreographer Thanh-Tu Sattva Nguyen. Dressed in loose-fitting white linen clothes this piece was certainly an easier watch, with much fewer demands being made from the audience. Using a more pulsating soundtrack, she created some interesting images with a lovely picture finish. Whilst the first piece had a definite inner monologue telling a story, this piece felt much more dance-for-dance-sake, and was a nice respite before we were plunged into the world of the final piece.
Using sleeping bags and other plastic bags to complete cover a few of the dancers, the start of this third piece was "the world that time forgot" - an alien scape, unrecognisable. This was Bosmat Nossan's 'Ro-Mass', and it started as it meant to continue - highly unconventionally and completely unique. Nossan's style is striking and avant-garde, having never seen anything quite like her work before I was quite taken aback but agreeably surprised by her style and ideas. The piece is loosely about emotions, and how our own emotions transmit and transmute, but it focussed almost entirely on our sexual impulses. The dancers, dressed in a little as propriety would allow, were tasked into simulating orgies, orgasms, and humming throughout as if one giant sexual organism. It was a little surreal at times, the slow motion smiling pitted against the jarred and frenetic stabbing staccato was visually interesting even if it was a little frightening!
In all three pieces the 16 dancers were highly co-ordinated and proficient, showing a maturity in performance rarely seen in dancers so young.
The lighting design (Chris Yates) was most helpful throughout. Not too "creative" but instead aiding the moods and thought processes of the dances creating some beautiful images.
A highly entertaining and indeed thought-provoking and conversation-starting evening. Excellent.
Reviewer: Alastair Zyggu
Reviewed: 15.3.25
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