Let Life Dance by Humans Move is an intimate and evocative piece that captures togetherness, isolation, and reconnection. The piece was choreographed by Jessie Brett with the dancers to the music composed by Jered Sorkin.
The five dancers, disabled and non-disabled, form an ensemble that oscillates from unity to disunity and then unity again. Let Life Dance opens with colourful and playful movement that reminds one of children in the playground. They are disorderly and together. Then a sense of loneliness slips in as one of the dancer moves away from the others.
The piece alternates ensemble movements with solo moments conveying the tension between connection and disconnection in human relationships. The search for supporting and caring relationships is fraught with misunderstandings. The collective carries trappings and a sense of imprisonment for the individual.
This idea of tension between the the individual and the group is clearly conveyed through delicate movements and explosions of energy. Yet there is a need for a stronger sense of structure. A more dynamic light design and costumes might have also helped shape a story and create a journey for the show’s spectators. Overall, it was a well-received piece full of humanity.
Womanhood is often about endurance. About containing anger and carrying on anyway. This show embodies that, inhabits it. Blending monologue, performance art, dance and design Deborah moves through the space as through life; in a series of funny, touching and sometimes uncomfortable moments, with visceral physicality.
The hour and fifteen minute solo is punctuated with deeply personal details and is both emotionally and physically demanding on Deborah, who connects with the audience with delicate intimacy, even when trapped inside a fridge screaming in rage; we are screaming too.
This is autobiographical but relatable, you may be a woman or a mother yourself who feels what Deborah feels first hand, or you may recognise the women in your life in the portrayal. As an audience you are swept along in vignettes of movement, monologue, sound and stillness; each creating powerful moments to reflect within.
Deborah’s poetic and often punk performance is enhanced by beautiful yet simple set design and a newly composed soundtrack by Welsh artist Tic Ashfield.
Everything feels both stark and slick.
Audiences new to dance will be drawn into Deborah’s world, there’s moments of humor and beauty, and enough narrative to keep you fired up throughout.
Catch it on tour across South and Mid Wales over the next couple of weeks.
I am not done with so called minimalism in London just yet. Part of the Southbank Centre’s Multitudes Festival, In C, proved to be a thrill. Taking Terry Riley’s iconic 1960’s composition, it is here laced with dance and that from Sasha Waltz.
Just over an hour, the whole beast was touching and the definition of fluidity. Diverse dancers swell together, Waltz’s stance on the belief, profound here. The London Sinfonietta players maintained tightness the overall pace. The C note is given time to breath in these phases, never a moment of discord nor shock. The development of this note is luxurious in its discoveries. These repeating motions from the musicians are a testament to muscle memory and endurance. This powdered piece is essentially Riley’ most revered stand out and that’s not a bad thing. You can easily lose yourself within it.
Waltz’ choreography has used classical music before to acclaim. It’s very human, allow me to explain what I mean. It’s the combination of coloured vests, which gradually darken with sweat, the smiles the dancers give and the unrelenting flow that makes up, this so uniting. So many connections are made: some appear to handle heart break, others suggest the glimpses of friendship. Each dancers easily go off on their own venture, prayer signs and soft balletic postures…often returning to a semblance of gathering. An infectious conga line appeared to form in one instance catching others into its fold, only then to disassemble at just as quick. Each dancers brought clear insight and energy, the head turned a few times, adding with their little adventures into the auditorium. Quite literary dancing in the aisles.
This might just be one of the most lovely combinations of dance and music. A broad colour palette evoked Rothko and Klee, a large screen haunting the space. This is also proof how good a venue the Queen Elizabeth Hall is for dance, I’ve seen work before but this defined it. Wonderous flights seem to take over the troupe as if they might just have floated off. I was quite moved, again its just so achingly human. I might just try out some of these flurrying moves at home…
We’ve been thinking a lot in Wales about the plight of musicians and artists. Yet how are the dancers doing? I guess we are all cooked really, the feeling of hopelessness about funding and opportunities linger on. Let’s having something to raise the spirits…
In 1995, director and choreographer Sir Matthew Bourne hit the ballet jackpot in his reimagining of the definitive ballet. Maybe back 30 years ago, this would been highly radical, messing with the formula of a piece so cherished by dance audiences. Still, the connective tissue of the original Swan Lake is evident and lives, thanks to what holds up as a sparkling feat. The new additions of queer and gender bending roles are what stand out in what has often (incorrectly) been dubbed the “all male Swan Lake”.
The story is practically the same, it’s just the dressing of a newer setting that could be 1950s or today, or another universe. The prince, unhappy with his life then falls for a woman, The Girlfriend, though the snobbery of The Queen and the court would dominate. The prince finds himself at a lake, only to have an awakening in many ways, as The Swan and his posey waft into his life. It all end in tears, as the beats of the original story are mirrored and gentle tweaked.
This really does prove to be a fun and absorbing evening. Bourne’s foundation of classical ballet is always there waiting. Yet, the more contemporary dance components are what makes it so compelling, the fluidity and outbursts from this varied cast. There are quirky jabs and physical majesty in these demanding roles. There are extremities, moments of period dances from decades past and other flurries seeing odder sights. The swan troupe who in their iconic down feather tights and ink beak makeup adorned on their forehead, get some of the finest moments of the show. They are the poster children and have been for years. They even hiss, which was not expected.
The gala balls and the mock Royal Ballet visit also sparkle with glamour, dippy humour and a surprising amount of sexuality. When The Swan arrives at one of these dos as The Stranger (or the Black Swan in the original), I was taken with just how steamy it got. Some really fun and electric moves in the Spanish and other dances, as The Prince, loses his sanity over The Swan making multiple passes at his mother. Lez Brotherston in the set and costumes have famous details and practical ease. The sets are clever in looking grander and heavier than they are, the costumes range from nightclub garters to royal gowns, all very fetching.
These are dancers on their ‘A’ game. The Swan is Jackson Fisch, in a compelling and a sensual depiction of the fatal avian folly. This might be the finest dance performance I’ve seen for a while. Stephan Murray is not far behind as The Prince, who leads the show throughout. Innocence, intrigue, discovery and mania are his components, each played with nuance and the energy given off Murray is palpable. The Queen is Nicole Kabera gets some divaesque steps and the commanding presence to, proving the royal line has talents galore.
The Girlfriend from Katrina Lyndon is the comic relief, the foil to latter triggering this tragedy. Her stint in the Royal Ballet scene riffed on excitable audience goers, eating, passionately reading the programme and turning off their ringing phones. Also highly nimble, her time on stage was often eye catching and delightful. James Lovell looks like Tchaikovsky as The Private Secretary, this is a character who judges others mostly The Prince and Girlfriend. Much more the straight man in the court, this fells secondary though still part of the broth.
The one gripe, though I’ve said it before is the canned orchestra. Tchaikovsky’s soul lived in his compositions and here is no different. All the recognisable tunes and lesser-known passages feature, I even wondered if the order was messed around the for new take. I recall not seeing any live musicians at Bourne’s Cinderella too. The tourabilty of the show might be for reason like this, though as prices rise for theatre goers and musicians continue to fight for their jobs, I think it would add an extra layer of joy and spectacle.
Whilst all swans in this realm are owned by the King, this particular one very much belongs to Bourne.
Firstly, go see the show … it’s good, fun, and refreshing. A cohesive programme of three short works from “up and coming” choreographers.
The night felt positively retro-futuristic in style and design. ‘UN3D’, and ‘Hang there Baby’ were giving ‘Wes Anderson meets 1970s Robert North’ aesthetics with contemporary sensibilities. Infinity Duet suggested early Trisha Brown but without being derivative in its design or movement.
I felt I was seeing the threshold of change in the choreographic practices presented. Each practice was deftly supported by rehearsal director Victoria Roberts who gave each work space to breath, but guided a coherent, and articulate company throughout the evening.
Infinity Duet : Faye Tan and Cecile Johnson-Soliz
A trio of performers (two people and a sculpture engage in actions, refractions, and contemplation. This abstracted but subtly interpersonal encounter, was performed to a score of (s)crunching paper with a meandering ostinato. If you wanted this work to go on longer, keep your fingers crossed that NDCW will bring back “In Tandem” from the same creative team.
UN3D :Osian Meilir
A series of unfolding movement ideas and concepts (de)synchronised to the sounds of Björk, and The Police. A humorous encounter that transforms the costumes as much as the movement materials. Overall I enjoyed the flower of unfolding delights, but some ideas lingered a little too long.
Hang in There, Baby : John-William Watson
70’s pastels, and a new years office party at the setting for exploration of decisions, destiny, and clones. The cubicle sized set, carefully constructed movement, and alternative outcomes offered contemporary dance meets Wes Anderson. Although this work was a remounting, it didn’t sit uncomfortably on the company, or seem at odds with the rest of the program.
I hope NDCW will continue to develop these (and other) new voices as it establishes its new identity and leadership. Thresholds can be fragile spaces, and the Welsh dance sector needs growth and belief..
A shadow workincorporates infused acoustic piano & synthesiser, blended sounds to engineer the depths between living in conflict with the illusions & reality. Visiting the quantum fields to face the past, present & future; where we can no longer run away from suppressed truths & conditioning, returning to inescapable sentiments to explore infinite possibilities of emotional currency to sustain vitality & redeem creation and soul activation.
A Shadow Work highlights significant stages of manifesting your inner light subconsciously & consciously, being the architect of your energy, giving yourself permission to be vulnerable to restore your inner-power. Entering portals & tunnels that will psychologically challenge you but eventually revive your innate power, to allow life the flow through your good, bad & ugly experiences, feeling multi energy forces to move strategically within you to protect your energy, reinvest your power to operate around negative aspects that’s depleted areas we struggle to amplify who & what we allow into our quantum fields to reactivate, re-cleanse & detox with the end goal to empower, own your truth, validate self & intuitively guard your essence when leaving the shadows to pour back into self for healing purposes.
The journey told through dance channels curiosity as we divinely follow dancer Taraja Hudon on her spiritual & mental endeavours as she emotionally breaks through vicious cycles to learn past lessons to prevent them from reoccurring, to stop attracting unpleasant experiences, where we acknowledge her running away from a box, with her shadow’s encouraging her to reopen the box potentially filled with images of past trauma, hurt, pain, difficulty & imbalanced relationships. The fellow dancers play both her inner & outer demons; reinforcing her to free her mind, face her face & enter into the unknown aspects of ourselves to become complete, whole & victorious.
In the second show entitled: About My Sister, The Serial Killer, inspired by the book ‘My Sister’ by author; Oyinkan Braithwaite. The audience were taken on an intensifying choreography piece that was suspenseful both musically & metaphorically. All dancers generated movement that was sensual, cunning & intriguing as we witnessed two different material happening simultaneously, keeping us at the edge of our seats. Cassa Pancho herself had both choreographed & directed this performance, she incorporated themes of fantasy, infatuation, allure, fatal attraction & vindictive tendencies well, the adaption of this book onto the stage offers a distorted reality of introspection & deception intertwined.
Plunged into darkness, our eyes becoming accustomed, we start to see the outline of bodies, moving as one. As the lights come up, we are confronted with a team of mismatched and almost fearsome creatures, with mixtures of jagged and smooth movements.
A double bill, National Dance Company Wales bring questioning and critical performances, Skinners by Melanie Lane and AUGUST by Matthew William Robinson. Neither aim to give answers to our changing world but aim for us to reflect on our existence and the change around us.
Skinners particularly looks at the digital age, where physicality is distorted beyond recognition and where we live in a virtual world as opposed to reality. This first piece is what we are confronted with from the dark; creatures with recognisable assets yet distorted some what, move as one and then in separate spheres. The movements themselves move from recognisable, to abrupt, repetitive and unusual. With their costuming and contortion of their bodies, we want to understand but we are quickly pulled away, watching something unearthly, at times robotic, at times… no one knows.
It is a piece that you cannot take your eyes off. Even the repetitive movement hooks you, and there is something always catching your eye. Once the performers peel away their outer layer, they become more humanised, but there is still this sense of something lost underneath, as they continue to move unusually and almost unnaturally. It is a high octaned piece, full of dance moves that seem simple and easy, but clearly requires immense talent and skill to perform.
AUGUST, while noted in the programme as inspired by sunsets and sunrises and the liminal space between, to me, it continued this concept of other-worldly, of a digital age. A horizontal light, that throughout counts down and follows the dancers across the stage, gave this sci-fi effect; of a barrier that could not be crossed. Within this, the movement, compared to Skinners is more graceful and fluid – dancers appear from the dark and as the horizontal light moves up, down, forward and back in movement with them, they are highlighted by the shadows created.
Again, unable to take your eyes off, there is something always appearing or disappearing, with moments of increased energy, within the fluidity of their movements. It is sensual and intense, with the performers working more with one another and their bodies than previously, melding into one and separating into something different.
Frontiers showcases the immense talent of the NDCW – from the unusual and avant guard to the fluid and contemporary, Skinners and AUGUST beautifully compete in excellence.
Venue Cymru, Llandudno, October 18th 2024 and touring
(4.5 / 5)
An Imperial Classic Ballet production. Ballet Artistic Director – Katsiaryna Fadzeyeva, Conductor – Nikita Suhik, Concertmaster – Polina Chaika.
Swan Lake, a timeless story that became the standard for classical ballet and redefined the genre. Would this production continue to entrance the audience as much as the ballet has since its first presentation?
The libretto is well known and at its heart is a love story. Prince Siegfried is disappointed at his birthday celebration that no suitable bride is presented to him. After, while hunting he sees some swans by the lake. He is entranced by the white swan, Odette who insists that she and the other swans are human and have been put under a spell by the evil magician, Rothbart that can only be broken by everlasting love. In Act 2, the Prince has to choose his bride and eventually sees Odile, Rothbarts daughter and sees an uncanny resemblance to Odette. In the heat of celebration he confesses his love for Odile, breaking his vow to Odette who watches on from the window. Once he realises, the Prince returns to the lake to see the grief stricken swans. He begs forgiveness of Odette and declares his love. Rothbart challenges him, but love prevails.
The ballet tugs at the heartstrings throughout taking you through a range of emotions from joy to grief. This is enabled by Pyotr Tchaikovsky’s moving score. He pioneered the use of leitmotifs, snatches of music that are assigned to a character and repeated when they appear on stage. Musically it is challenging. On speaking to the first violinist she commented that Tchaikovsky composed on a piano, having five fingers available while the violinist has only got four, the thumb being used as a grip. The orchestra proved the point that dance and music are natural extensions of each other and portrayed the emotions in the ballet really well.
To perform Swan Lake is difficult, comparable to Sleeping Beauty in its complexity, yet the lead roles are compelling for any aspiring dancer. There were a series of tableaux illustrating the skills of the dancers which provided ample evidence that ballet makes extremely difficult manoeuvres look effortless. The part of Odile/Odette is particularly challenging both technically and emotionally yet illustrated that the movement of the human body can be beautiful as it combines grace, poise and strength. This performance did not disappoint, yet again this dance proved to be compelling viewing
The ballet troupe and orchestra, in the midst of a gruelling schedule for their national tour were enthusiastic and committed tonight, although my impression is that the emphasis in this production is on demonstrating prowess rather than storytelling. However, this did not spoil what was an excellent and thoroughly recommended evenings entertainment.
The Royal Welsh College of Music and Drama in Cardiff runs a Community Ticketing Scheme. The Scheme supports a range of eligible people to access a FREE performance. You can see some of the performance’s available this week 23-30/09/24 below. If you are interested there is link to the eligibility criteria and a sign up form below.
Dennis Rollins & Royal Welsh College Jazz: Calypso Cymru
Thurs 26 September 2024 7.30pm
Dora Stoutzker Hall
£7.50-£15
Musical memories from the Windrush Elders Cymru are re-imagined through the musical artistry of jazz giant Dennis Rollins together with Samuel Dubois on steel pan, Cameron Pierre on guitar and Royal Welsh College’s jazz performers. Breathing new life into the calypso-classics of Lord Kitchner, Harry Belafonte, Mighty Sparrow, Monty Alexander and more, the gig will also feature new calypso/jazz arrangements of Jump in The Line, Brown Skin Girl, Angelina and Sly Mongoose. It’ll be sure to have you dancing in your seats!
“It’s going to be a pleasure to return to RWCMD for an expansion of our 2023 collaboration, Calypso Cymru. Here, our connection is the song.” Dennis Rollins
She was fame hungry, he was doomed to follow her. As one hit wonders, this is a story of their big come-back. With Sandy’s determination and Bruno’s blissful devotion to her, they are here; not by popular demand, but by sheer defiance.
With striking aesthetics and a rousing soundtrack, THE BAND is a quirky, humorous display of desperate ambition and blind affection told through awe-inspiring dance, theatre and circus.
Funded by Arts Council England. Developed with the support of Greenwich & Lewisham Young People’s Theatre, as part of Progression (an Arts Council England funded project). Supported by Greenwich Dance and Jacksons Lane.
Join the award-winning ORA Singers for their inaugural Graduate Composers’ Showcase, the culmination of a brand new scheme designed to celebrate the rising stars in composition. Hear the five exceptional new voices in contemporary music: George Parris, Liberty Richardson, Tomos Owen Jones, Emma Pascoe, and Jorge Ramos, with additional ORA commissions from acclaimed composers, Paul Mealor and Odaline de la Martinez, alongside renaissance masterpieces
Exploring the connections between musical traditions and the natural world, Making Tracks brings together exceptional musicians from all corners of the globe. Collaboration has the power to foster a deeper appreciation of both biodiversity and cultural diversity, and this autumn, Making Tracks visits Cardiff for the first time with a fresh line-up of eight musicians performing a captivating programme of solo and ensemble music.
You can find out more information and book ticket here
Information on The Community Ticket Scheme
RWCMD is a performance venue with a range of theatres. We work to support the public to watch the full range of performances, many of which are free and happen regularly, like AmserJazz.
We specifically focus on supporting people who may face barriers to coming to the College. If you are a member of one of the groups below and are interested in seeing a performance at RWCMD for free, please fill this form or phone our Community Engagement Partner – Guy O’Donnell at 029 2034 2854
People from the areas of Cardiff:
Ely,
Caerau,
Canton,
Riverside,
Grangetown,
Butetown,
Adamsdown,
Splott,
Rumney,
Llanrumney,
Trowbridge
Llanedeyrn,
St Mellons
Pentrebane
Asylum seekers and refugees (Referred through membership with partner organisations)
Disabled people (Referred through membership with partner organisations or evidence of status)
Tempo Time Credit network members
Care experienced children and young people.
Groups and individuals supported by Race Council Cymru and Chinese in Wales.
We are keen to learn more about what barriers to study or live performances exist and how we can work to remove them. We seek to learn, share and work with a range of communities.
If you have any queries or you would like someone to speak to your group about the Scheme, please contact Communities Engagement Partner – Guy O’ Donnell.
Guy works on delivering a wide range of engagement activity, working across every aspect of the College with potential students, community groups, schools, colleges, audience members, partner organisations, decision makers and the wider public. You can email him at this address guy.odonell@rwcmd.ac.uk
Everyone has a Kate Bush story. Whether you’re a big fan, have only ever heard her from Stranger Things, met her or know someone who knows someone who has met her. She is a staple of the 70’s and 80’s. So what’s the best thing to do with this love in 2024? Go and see a theatrical homage to the great.
This is not Kate Bush, this is without her and to some level, a love story to a childhood. Sarah-Louise Young is our Kate Bush, intimately telling us about growing up, with every element of comedy in her re-telling of wanting to wear spandex and the practice she has undertaken to move just like the great Kate.
The audience is full of those who love Kate, who have been dragged along, who have only heard a few songs, and we all collect together as Young brings us in with comical outfits, movements and “scenes” playing out Kate’s songs. She uses puppetry from a giant eye, to a mop, which weirdly still feels like something Kate Bush would do. But it brings it down from being a tribute act to something more avant garde and stylistic.
Young is very personable; she is in the audience, speaking with different people, bringing them on stage to party with her and we are all welcome in the room like old friends. She shares her love of Kate with us and so this barrier broken down between audience and performer helps us get on her train.
And it would be amiss to forget her phenomenal singing voice – while I’ve not seen anything else from Young, there’s a sense that, while you could close your eyes and swear Kate was in front of you, she effortlessly seems like a performer who is talented in changing her voice and still keeping the range and impact.
An Evening Without Kate Bush balances seamlessly the bridge between a tribute act and a fantastic piece of fringe theatre. With Kate Bush rarely in the public eye, Young’s talent is the closest you will get to a concert by the great moor dancing singer.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(4 / 5)
(5 / 5)
(4.5 / 5)
