Tanica Psalmist

My name is Tanica Psalmist. I'm a spoken word artist, emerging playwright and theatre critic.

Review Out Of The System:Mixed Bill, Dance Umbrella by Tanica Psalmist

Out Of The System :‘MIXED BILL’ curated by Dance Umbrella, featured guest programme ‘Freddie Opoku; in partnership with Bernie Grant Art Centre & Systems LAB. Out from this showcase stemmed acts who brought more than just multi-disciplined, deeply conscious and lucrative art.

All pieces structurally provided visual content that were richly infused with innovation & culture. This was exceptionally recognised during the first act of the evening, ‘Fragility in Man’ by dancer Theo Inart. His unique segment poured vulnerability on stage. A one man show featuring live looping, un-dressing, mental channelling & emotional battling through movement & sound-making. Each movement foretold his insanity as a man looking sane, meanwhile each sound enchanted torment from the infliction of oppression within society as a man.

Next on ‘Exhibit F’ by Becky Namgaud. Her piece was the most abstract out of the other pieces showcased, to the point you would’ve needed to pick her brain to find meaning within the intensity of her choreography & low lit to dark mood lighting choice. Becky’s performance grasped attention being the only act who was nude, top half of her body. Becky incorporated sounds of running water & stayed levelled on the ground in her piece infusing ambience sounds which I struggled to find the correlation with to match her theme. However, in spite of this I’d describe this piece as deeply metaphorical, original & innovative with complex moves combined with contemporary & Capoeira style of dance. I perceived this piece may have been more personal, explaining why it wasn’t self-explanatory to members of the audience. This gave Becky’s presence power & bravery, as she interestingly also had a lot of repetition throughout.

Followed on from Becky’s piece was a duet act, ‘Beyond Words’ performed by FFion Camberwell Davis & Tyrone Issac Stewart. Ffion first appeared on stage wearing lingerie, whilst Tyrone appeared in boxers; circulating a lot of their movement at the beginning on balance by firmly climbing, gripping & stepping on to one another weary of their surroundings. As their piece built more momentum both acts started exploiting various episodes of their unique individuality through phases of facing judgment, living in a world where your made to feel uncomfortable when in reality feeling comfortable with yourself. To portray their multifaceted mindsets they’d transitioned to a volume of costume changes on set, emphasising through spoken-word that external factors don’t define them but helps in finding their purpose to re-connect deeply to their roots. The incorporation of spoken word for me was distinctive, as it helped exclaim the powerful discovery of two individuals dressing down to reflect the value found in being at one as a collective amongst people with different tribal history.

Lastly, Jonzi D presented his piece ‘Aeroplane Man’, which personally blew me away! His piece was a perfect way to end the showcase as he took the audience on a never-ending, mental plane journey bringing nothing but himself. Energetically jogging on one spot as he physically, mentally, emotionally & spiritually ran his way to regions where respect & acceptance from his ethnic heritage, indigenous people were expected. However, ironically we’d witnessed his robust character repeatedly facing rejection and humiliation instead. Confused, saddened but determined not to give up, he remained hopeful of finding unity, validation, identity & belonging in countries where his people had his interest at heart & wouldn’t see him as a fabricated, disillusioned wannabe, despite being unable to speak his mothers tongue or know & understand his African tribe fully. ‘Aeroplane Man’ is a story told through the lens of relatable periods in life, experienced when being of African descent, raised within another culture who have difficulty accepting you due to your race. A man birthed from West Indian parents who came to England during the Windsrush, migrated & have no recollection of home other than their current place of residence. Themes in this piece were propaganda, racism, belonging & adaptation.

All artists focused on abstract ways of grouping their political, emotional views on factors that surround society. All pieces embodied rich characterisation and were well thought through in terms of their mis-en-scene choices. The following artists FFion Camberwell Davis, Tyrone Issac Stewart, Becky – Namgauds, Miguel-Altunaga & Florian- Peus demonstrated effective, triumphed work they should each be proud of.  



Choreography Theo TJ Lowe
Art Direction Theo TJ Lowe
Sound Collaborators Louis Van Johnson, Sabio Janiak
Voice Work Theo TJ Lowe
Performer Theo TJ Lowe

Choreographed and performed by Becky Namguads
Additional Direction Marso Riviere
Music Yael Claire Shahmoon
Producer Amy Sheppard

Curated by DU Guest Programmer Freddie Opoku-Addaie
A Dance Umbrella production
Presented in partnership with Bernie Grants Arts Centre

REVIEW The Future, Little Bulb Theatre and Farnham Maltings by Tanica Psalmist

4 out of 5 stars (4 / 5)

The Future is a mental stimulating play produced by Little Bulb Theatre and Farnham Maltings. An unpredictable play from the start as the show begins as a Ted Talk, midway forming the group into an in-house rock band followed by patterns of a group of four scientists getting into discussions about the future that awaits for humanity.

The Future is a play that hinders on the state of high intelligence; focusing on the dimensions of technology,  human existence, effects of our minds and ability to face the strength of an unexplainable compacted artificial intelligence world. This play was primarily inspired by the philosophical thinkers, re-discovering the elements of human minds through dark comedy.

During this production we’re gathered by four extremely inquisitive futurologists,  examining aftermath, re-enactment of ancestral fate within the Garden of Eden, role-played out as written in the book of Genesis. A truly, deeply awakening play with a combination of rock opera, hitting various riffs, harmonies and scales. An extremely talented cast with the ability to put on various accents and accelerate in mastering implications for the journey of what is yet to come for human-kind. 

Review Woke, Apphia Campbell by Tanica Psalmist

4 out of 5 stars (4 / 5)

A truly deep and enlightening one women show; performed and written by Apphia Campbell. Apphia Campbell sets her stories against a powerful soundtrack of original music, traditional gospel and blues. Strongly showcasing the reciprocating effects and struggle the black community embodied in the name of civil rights. During this show the audience were continuously taken through a series of events, time travelling to the period of 1970s witnessing traumatic experiences from the Black Panther Assata Shakur.

Fast forwarding to the 20th century, a time fused with the Ferguson riots, chaos and injustice that had taken place during the midsts of a college enrolment. 

This show expressively role-plays the corruption of America’s injustice system; focusing on the irrational criminalised infrastructure through political activism; whilst focusing on the parameters of acknowledging the power her skin beholds to now become her voice. To balance out this play Apphia’s passionate singing, humour and characterisation techniques as well as her use of the entire stage was thoroughly enjoyable.

This captivating play brought a fusion of vitality to display. The more you watched her, storytelling the sequence of what black empowerment meant to her, the more you  got a sense of black history and how much more there is cover in its entirety.  

Review Yvette, Urielle Klein-Mekongo by Tanica Psalmist

5 out of 5 stars (5 / 5)

Yvette is a unique and emotionally compelling autobiography; written and performed by the multi-disciplinary artist Urielle Klein-Mekongo. The entire production embarks on an emotional journey themed around insecurity, naivety, peer-pressure, infatuation and toxicity. Toxicity that exists within friendship groups; a strict and cultural household and during hormonal imbalances when going through puberty, battling mental constraints of self-worth and self-love.

This play reminisces on the competitive, bitchy and immature nature of challenging secondary school life. In this play we witness Yvette stuck in an era of betrayal even from her best friend, being the centre of hot gossip, attracting inevitable confrontation, loss of confidence after facing rejection from a close, male companion and not being stereotypically desirable enough to hang out with the popular girls either. As a determined student; we see she ambitiously aimed to avoid fights, leave school with good grades and do her parents proud but somehow ending up with the complete reverse; facing suspension after a fight she didn’t provoke, seeing nothing but disappointment on her mothers face to then get criticised for being too influenced by the western worlds ways; losing a sense of her identity and culture. This show travelled minds through the highs and lows of raw and unapologetic truths, unleashing harsh realities as the audience entered in to Urielle’s world.

Yvette for me was about self-expression. By featuring live looping to reinforce her truth through music accelerated our connectivity to Urielle even moreso. Her incredible talent sophisticatedly radiated as we saw an abundance of her singing and spoken word. The loop pedal in her performance truly brought a different experience to her play. Urielle’s rhythmic sentiment chanted a majestic and energetic sensation, making you want to vibe with her on stage. This incredibly upbeat and vibrant show was well balanced in spite of being an equally emotionally abstract and fugitive autobiography.

The layout of the set was an interior design of a compact apartment almost, the mis-en-scene and vitality of the show was simplistic and significantly strong. Urielle’s consequential storyline involved humorous and enjoyable multi-roleplaying throughout. Her level of creativity showed most efficiently during the scene of her re-enacting her interaction with an acquaintance simultaneously; having half of her body facing the audience whilst smartly clothing her right arm in a jacket that gently and subtly caressed the left part of her face to reflect the intimate moment that was manifesting between them both. This scene had an incredibly suspenseful nature making the believability of this scene intense to watch. Every abstract scene in Yvette achieved a suspenseful and self-wakening substance to take away from in hindsight.

Yvette speaks on the underlying issues of ethnic minorities not looking exotic enough or fitting in to society’s perceptions of beauty standards. This production also reflects on the importance of practicing, acknowledging and embracing a sufficient form of self-love during womanhood. As well as how imperative it is to overcome your past and focuses on the present as what doesn’t kill you, only makes you stronger.

A truly heart felt, rhythmic, fundamental, self-healing and women empowering play that ended with the talented actress, singer and songwriter singing her song ‘You Are’. This song is a declaration of being a survivor and not a victim and owning your scars, ending with the words living, breathing, feeling, winning! An inspirational play that speaks volumes into what it means to not give up without a good fight and crown yourself with victory and let no one destroy your destiny. The song Urielle wrote entitled ‘You Are’ is no doubt powerful enough to help women of all ages who feel execration towards themselves learn to accept, transform and become open to appreciating themselves wholly through this remarkably beautiful song.

Review Soul Lyrical, Ragz-CV Theatre Peckham by Tanica Psalmist

’Soul Lyrical’ is a multi-displinary show, an eye-opening production that grips you in from start to finish. Co-directed by Suzann McLean in collaboration with Ragz-CV who’d performed his first spoken-word album entitled ’Soul Lyrical’. 

Ragz-CV is an extremely talented spit-firing poet, his lyrical content is a true expression of power and enlightenment. The energy that radiated from his free-flowing verses were compelling as he fused emotion, tone and tension together. This show had other incredible live performances merged, turning Theatre Peckham into a powerhouse, which was where the show took place. A massive credit to the following acts: Saxophonist Michael Cann-Abaidoo, Pianist Victor Akrofi and artist’s Sheena & Magero who’s voices sounded as if there was an ensemble of sacred angels securely fastened to their chests.

Ragz-CV’S inspiration and input into two of the scripts, one being ‘My Brothers Keeper’ was a refection of past experiences that he’d personally encountered as well as known for other people to have encountered. This production was an emotional journey as several of the scenes throughout this play broadens the conscious mindset as it exploits various aspects of young people’s involvement in knife crime, appreciation of mothers and the significance of identifying with your culture and mental health.

The initial themes exhibited were acceptance, self-worth and identity. The featuring of young people helped make this production sentimental as their connectivity to their character imperatively showed, making the scenes they acted in sincerely heartfelt and luring. I was able to speak with Ragz-CV afterwards and he’d highlighted that the young people involved were able to connect and resonate to the script as a few of them had either mentioned that they’d either seen or witnessed someone who’s been through some of the situations that were raised in the play. 

’Soul Lyrical’ is a chain of captivating mediums and content which seeks to raise self-awareness. The abstract dimensions in this show channelled what it meant to be an ethic minority affiliated with negativity when not truly knowing yourself. It was a beautiful moment when  Magero’s mum connects to her son from the audience, communicating with him in their native tongue, Swahili. This beautiful unexpected moment between a mother and her son came after Magero spoke on how he felt growing up with a low demographic of his native people in a new country, city and area. We witnessed that by Magero hearing his mothers voice his dysfunctional mindset was regenerated. This element in the play was a clear indication that by an elder connecting with the youth it holds the key to prevention of being led astray.

Frankenstein: How To Make A Monster, Battersea Arts Centre by Tanica Psalmist

The production Frankenstein: How to Make a Monster is triumphantly spectacular! featuring an abundance of sensory flows from different types of beatboxers’ who all ecstatically project an aura of an overwhelming system, which conveys power and pain. Compellingly taking our ears through motions as their voices effortlessly, vigorously exploit numerous of in-depth frequencies from low to high simultaneously. Several of the beatboxers fluidity hypnotised us through their radio waves, leaving memorisation as they mind-blowingly touched on elements affiliated with political, mental and emotional conflict.

The beatboxers collectively integrated upbeats. In beat we witnessed a fusion of music genres from their voices alone, whether it be House, Funk, Blues, Motown or Pop this crew had it down to the ‘T’. Their music chords impressively merged heavy deep drums, string instruments and much more.

Incorporating Mary Shelley’s original, which was reimagined with soundscapes, sonic trickery and songs. To the counts within their musical flow, their vocal chords went to the rhythms of 1,2,3,4 but automatically speeded up to their heartbeats chanting 2,4,6,8. This soon boomed to a higher frequency as they began harmonising, synchronising, fluctuating and exploiting various other musical genres. The energy in the space became immense, especially when the space effectively transitioned into the vibes of an electrifying gig. 

Frankenstein had six acts in this play, all playing to their individual strengths whether it be singers, rappers, poetic essences and of course beatboxers; Frankenstein had it all! This production visually moved brains, you could feel the creatives hearts race, pumping to the counts of 10, 20, 30, and 40. Their sounds enhanced colourful patterns of different worlds colliding; projecting cinematic sounds of life and power whilst they embraced an emotional energy, triggered by a world we all know so well, as we become witnesses to the power of monsters all around us, strengthened by voices empowering them. 

The light moods had sparkles, gloss and smoke, the colours resembled energy, fire and enjoyment. This factor helped increase vibrations of radio-waves as they got even deeper into how to make a monster. The artistic designs were radiating meaning you couldn’t help but glance with amazement! 

Overall, Frankenstein gives you high adrenaline. A breathtaking, unforgettable and exceptionally enjoyable production! A fantastic experience for all to see, featuring beat box battles, audience immersive orchestra and childrens participation! A must see meticulous show with a talented team, you will not be disappointed!

Review Post, Xavier de Sousa, Battersea Arts Centre by Tanica Psalmist

4 out of 5 stars (4 / 5)

Post is a solo, immersive play written and performed by Xavier de Sousa. Xavier’s play is an intimate and vocal production that creates a traditionally Portuguese and friendly atmosphere. There’s nothing more accommodating then attending a show that has tasty smells fuming in to your nostrils and discovering different methods of cooking and learning about new ethnic dishes, whilst getting served.

Post is all about joining Xavier at a grand table for some delicious portuguese food and merrily discussing hot topics around the dinner table whilst you eat. Xavier chose four people to voluntarily accompany him at the dining table on set which had a variety of sweet smelling foods such as homemade bread, soup, Green wine and Cachaca, which is a strong Portuguese spirit he served for shots. 

Once the beautifully infused scents, tastes and imagery of the set began to feel like a warm heavenly paradise, Xavier was ready to present his questions. After he’d selectively chosen who to be seated around the table to discuss national matters, it got a lot more interesting and compelling. The primal talk was on challenges the nation faces, especially as we are heading towards Brexit.

The semi-focus revolved around factors in political and geographical landscapes. It was great to see Xavier invite down different ethnic groups to the table as this made the show even more crucial to watch. The conversations were far from demoralising to hear as they were all uniquely angled. Answered with the intention to help openly express, relate it individually or encourage significant family memories.  

Post is a play that exploits different topics in a safe, non-judgmental environment exploring what it means to be and feel a migrant in this day and age. As well as conforming to a culture to gain acceptance, followed by the exposure of non-friendly and ignorant people, who feel more confident to be openly racist and discriminative towards opposing ethnic minorities during this moment in history.

Xavier did a great job in keeping the humour alive and not excluding the audience by offering and serving food whilst conversations commenced! Xavier defiantly made a great host! Overall Post was fun and engaging to experience as whether you were involved in the conversation or not, the topics were self-identifying to all.

Review High Rise Estate of Mind, Homegrown Festival, BAC by Tanica Psalmist

5 out of 5 stars (5 / 5)

High Rise Estate of Mind is an energetic, reflective, daring, compelling and convicting production; igniting all to come and feel at home in a place you can’t technically call home cause you don’t own the property. Themes explored are the concepts revolving around working twice as hard to ensure you have a roof over your head whilst keeping up with rent costs to prevent eviction and trolling from your landlord.

The city heights is circulated around modern metropolitan living where residency is fluctuating and thoughts are unravelling on demands for expansions on suitable housing. Meanwhile families are left to struggle in their tightly compact apartments, stuck on the waiting list for comfortability, struck with mis-informed implementations in their local area. This production touches on fundamental concepts that depicts the real life living conditions in the UK.

A creative narrative that reflects the modern day reality of the inflicting pain of the housing issue, figuratively told through various elements of rap, spoken word, beatbox and looping. Credibility to the casts; Conrad Murray – Co artistic director, Paul Cree- Co Artistic director, David Bonnick Jr-Associate Artist and Lakeisha Lynch Stevans, they all played on their individual strengths.  

This production is an autobiography of the casts personal lives as they enact the challenges and determination of the days they’ve dreamt about leaving the estate. The impersonations in this play truly foretold the relationship between programmed landlords and submissive tenants. Paul Cree had effectively embodied the characteristics of a robot by remaining monotone, dry humoured, insensitive, transparent and unresponsive.

The chemical imbalance of the landlords disfiguration prevented him from emphasising with his tenant when facing potential eviction. Due to the landlords insensitivity you noticed the tenants feelings climaxed to feeling extremely frantic, hurt and punished.  This production is a well perceived reality of UK citizens feeling cursed in a dysfunctional system. High Rise Estate tackles angles of life for the majority of people living in estates dealing with unkept communal areas, negligence of maintenance issues and the overall mindset derived from the living conditions in fabricated England.    

The Mis-en-scene and set was very simplistic. The casts were dressed identically in all black wearing a hoodie, cap, tracksuit bottoms and shirt, which was great in preventing distractions. Each cast member stood with a mic stand in front of them, this play featured live looping and acoustic playing which made this play even more impactful. Their voices blessing the mic majestically set the mood, tone and effectiveness for the entire show.

This production is so figuratively rich with different music genres and content. The casts evidently wanted to be neutral on stage remaining themselves, which they successfully achieved. This piece also addresses the concerns of many middle aged men and women still living with their parents based on the struggle of affording to move out. High Rise Estate of Mind consists of extremely moving performances, raising awareness by uniquely retelling dimensions of various truths.  

High Rise eState of Mind will be showing at Battersea Arts Centre from the 20th – 30th March as part of the Occupy Festival.

Review Little Echoes by Tanica Psalmist

5 out of 5 stars (5 / 5)

Little Echoes is a ninety minute play with no intermission, written by Tom Powell and directed by Stephen Bailey. The show was held at The Hope theatre in partnership with Beyond the Streets, a UK- based charity who partner with women on their journey out of sexual exploitation. With a strong belief that a life is possible beyond sexual exploitation, striving to prevent abuse in pursuit that all women will be safe from coercion, violence and control. Little Echoes took place in a small intimate space and consisted of three cast members; Maisie Preston as (Danielle), Ciara Pouncett as (June) and Michael DeVille as (Shajenthran).

I loved that the seating arrangement had the audience seated around the centre stage. Everyone experienced a different level of intensity depending on what angle you were watching from, however whichever angle you were sat, you were able to capture a significant instillation. The themes explored in this play were naivety, captivity, manipulation, sexual exploitation, deceit, resentment, regret, pain, infatuation and coercion.

This production was well directed. Whenever watching a production that has no intermission it’s vital to contain a multitude of emotionally compelling content that contains sensibility, action, relatable characters, climax, tension and credibility. Little Echoes incredibly migrated all those elements together, combining the essence of multi roleplaying and miniature props, subtle lighting and one dress change of Danielle getting into a grey tracksuit not long after witnessing two girls wearing the same outfit.

Very subtly after she’d seen that, Danielle’s admirer mentioned he’d like for her to get changed as her appearance could be a distraction, to then quickly correcting himself to being a distraction for him. Once Danielle changed her clothes, he commented ‘you look beautiful’ you could hear the negative connotation piercingly. Dannielle’s energy shifting prompted him to take advantage, stimulating her mind to emotionally distract her from the wider picture of what was really going on.

Danielle was brilliantly played by Maise Preston being an extremely relatable character, making her therefore very likeable. Her characteristics were funny, nerdy, naive, quirky, daring, young, wild and free; easily flattered, therefore drawn impulsively to a charming older man giving her attention, highlighting his successful music career and ongoing tours. Dannielle being head over heels and fuelled with lust, made her determined to impress a man she barley knew by pretending to be as into music as he was, hoping to secure a special place in his heart. It was emotionally devastating watching Dannielle repeatedly being taken advantage of, constantly seduced and caressed until she was able to mentally, physically and emotionally be convinced that she didn’t exist when she’d surprisingly open her eyes to find herself with the other girls in the room; recording her.

Every scene was suspenseful, every moment was sentimental and every action correlated to an incident that occurred later on in the play, making every aspect fundamental.  The stage was mainly softly spot lit, helping to make the intensity more surreal and impactful to watch.  All three actors complimented each other well, bringing high energy and temperament, changing accents and tone of voice to fit into different roles simultaneously.

It was impressing to see all three actors who’d been narrating and foretelling their own individual stories connect towards the end of the play. Towards the end you witness a torn unison of vulnerability, helplessness and victimisation. All three individuals were brutally hurt, attacked tragically in an artificial world that left division, confusion and a cliff hanger of the unknown. Little Echoes connectivity is profound and compelling. A well structured play that was extremely simplistic but yet fused with vitality and mental stimulation. Jumbo Pact with an imperative message that raised awareness to the severity of Sexual exploitation.

Valentine’s day And Musical Theatre REVIEW BY TANICA PSALMIST

Watching Valentine’s Day & Musical Theatre organised by LCP Dance Theatre; founded by dancer and choreographer Joanna Puchala was a fabulous experience to be in the mists of. The show was held at The Lodge space in collaboration with Social Arts Festival and Flow move. It was a space that contained admiration for true talent; migrating an organic richness and respect for the artist’s craft, which was mind-blowing and well deserved. You could not hear a pin drop in the space, every performer engaged the audience’s attention as they performed with grace and authenticity. They had all individually tailored their work to project their personal or moral views or foretell a story from their perspective. This was done with pure sincerity as we could only imagine the depth of sweat, blood and tears it took to develop and construct such masterpiece’s, to ensure the smooth runnings of the different timed pieces showcased. These consisted of Modern Ballet, Contemporary Dance, Aerial Dance, Martial Arts and Musical Theatre.  

Valentine’s Day & Musical Theatre had kicked off with dancers Ranja Kasemi & Mia Aurora Windern infusing sensations of animal locomotion, Budokon yoga and contemporary pole dancing intertwined. This production brilliantly flowed as the artistic creativity of audible sounds of heavy panting and breathing of a wild, warm blooded mammal played. The girls majestically maintained the manifestation of distinctive characteristics of a wild animal’s physicality moves, sensory and mannerisms. Radiating the unconditional love we as human entities should posses for wild nature, and the creatures that exist within it. I had the pleasure of speaking with Mia Aurora Windern after the show who shared with me that her idea’s were stimulated around the conveying of the division of nutrients and water optimally on tree’s during their process of photosynthesis and how the mentality to nurture wildlife and respect nature would mean trees could grow into the best of their ability. 

Their production began with epic, gripping fluidity & flexibility. The duration of their set was charismatically breathtaking as well as pulsating. Their act featured all tricks and momentum of sensual swinging and circular motions of exhilaration as they pranced on and around the pole. The duet contained a fusion of delicacy, intensity and abstract diversity throughout; soundlessly piercing hearts as the synchronisation, definition within their muscular arms revealed their upper body and core strength and brought a sense of humility as they presented dignified, strong upper body swings. The tempo of the ambience engaged in with their rhythm, balancing whilst remaining in character mode throughout. These girls brilliantly set the mood for what followed next I felt. They interestingly wore a mask made out of Christmas pine tree, resonating messages of life, forest and the benefit of animals dwelling in their natural habit without feeling or being endangered by human destruction.     

Followed next was a dancer named Dianna Mukalere, whom again was a strikingly powerful and empowering artist. Her contemporary intuitive dance told a story of an inner identity remaining cool, calm and collective. She engaged with a pink, satin scarf to her piece. As it flowed it added a courageous wave that added a warming assentive and drive force enchanting magic, elegance and fluctuation. As she continued to move in a circular motion operating in different directions, decelerating honesty, vulnerability and love. This piece amazingly incorporated spoken word, the usage of different mediums meant that she kept everyone’s attention fixated on her act without blinking. It was a very enchanting, stylish expression of circulating movement of the body and wellbeing of living in harmony within yourself and feeling at one with yourself as a whole internally and externally. 

The third performance foretold the narrative of love in different aspects. Signalling true beauty and significance of modern Ballet. The contemporary ballet consisted of two duets both of which was sincere and genuine. As the dancers conveyed well structured, highly engaging and beautiful tales of a love story. The amount of emotion that bounced off in frequencies was unreal, in depth passion for romance and the embracing of two individuals coming together in unison offering strength and joy. Wonderfully played by the featuring casts; Briar Adams, Daniel Rodriguez, Marion Edmond & Lance Collins. 

Valentine’s Day & Musical Theatre in it’s entirety was unique and authentic. A solo performer by the name of  Frances Kartz gave an outstanding contemporary performance which consisted of Martial Arts, storytelling a tale of movement and skill. France’s body language for the awakening of a brave and powerful soul, sparkled the search of love, faith and courage. Combining grace & precision which brought fire and gloss to her act. Prior we’d seen Deliah Seefluth with an exceptionally strong and strengthening contemporary dance. And Victoria Howden with a solo musical theatre set, lasting for twenty-five minutes. It was a biography of her life story which the audience couldn’t help but sing along to, her unique, talented piece featured comedy, story telling and singing. Her all time favourite musical anthems were narrated to convey a more corny, sensual, humorous version as her dreams turned into a life story before our very own eyes. Victoria Howden was completely unexpected and pulled off a fabulously, daring re-enactment of her life as a musical in an realistic world of course. 

The LCP Dance Theatre company performed an Ariel contemporary Dance, this being the final act of the night. A brilliantly choreographed, twenty-five minute quintet. This was a beautiful way to end as it was representing the physical and mental state of our conscious mindsets whilst being broken hearted. This fabulous piece explored the different phases of pure love, betrayal, lost trust and struggle to forgive and finally becoming friends. This transformation of a passionate love leading to friendship, mutual understanding and compassion towards one another was sensational and truly well put together. Featuring the casts Lynn Dichon, Juan Sanchez Plaza, Leoni Amandin, Natasha Lee and Joanna Puchala. Was a wonderful way to end the show, the order of the shows were all so different. And achieved the objective of conveying emotion simultaneously through dance and performance.