The International Contemporary Dance Collective (iCoDaCo) is a collaborative community of dancers, choreographers, and performers from different European countries coming together to create a new piece of dance. Ahead of their performance of it will come later at Chapter Arts Centre, Cardiff iCoDaCo hosted a workshop to present their research on the theme of transformation. Eva Marloes writes of her experience of the workshop.
I close my eyes and feel the space around me. I feel my feet on the floor, the walls, and people near me. I realise I only become aware of space when I encounter an obstacle, when it is unfamiliar to me, or when it is redesigned in a new way. I often forget about my body too. I am reminded of it when I make a physical effort, feel pain, or trip over something. Dancers are more ‘bodily-minded’. They hug you and, in the dancing space, they take off their shoes and socks, and often trousers to dance in shorts or leggings. They become familiar with the space they use and how to move with one another.
Imre Vass
Imre Vass, a dancer from Hungary and part of iCoDaCo, begins the first session of the workshop by asking us to sense the space around us, to sense our bodies, and sense our bodies in relation to the space we are in. He asks us to concentrate on our feet, our footprint, and expand it. ‘Imagine you are painting the floor with our feet,’ he tells us. We begin to slide our feet in small strides to cover our little spot carefully, then in big strides, faster and faster, to cover the entire floor with imaginary paint. We take possession of the space and we do so together. Dance is not just body and space, but the interaction of bodies. It is a constantly changing relationship of people, space, and movement.
The next exercise requires us to touch one another. I roll on the floor while another participant touches me in different parts of my body pushing gently downwards. It is then my turn to ‘apply gravity,’ as Imre calls it. I am slightly uncomfortable at first. I scramble for a polite way of touching someone I have never met before. As the exercise continues, I no longer worry. Then we all come together in a group. All pushing each other downwards towards the ground, to feel the ground and each other. We do not push the other away. Those at the centre barely move while those at the edges end up orbiting around them. It is a ‘testament to human effort,’ Imre says. We connect with our bodies by tensing muscles and with each other by applying pressure on each other’s bodies.
It is an extraordinary experience in sensing the world through the body. We connect with one another and our surroundings without talking, without explanation, without seeing. I find myself with my eyes closed most of the times. I need that darkness to concentrate on my body, to know where it is, and to forget that other people might be watching. We all focus and exert ourselves in every exercise. ‘Do you want my sweat?’ asks a participant. Eddie Ladd, choreographer and performer with iCoDaCo, collects our sweat in small glass jars for an experiment. She uses the sweat to switch a little light on. She leads a rather challenging circuits session to make sure we yield the goods.
Eddie Ladd
The next exercise involves starting with a small movement, like moving a hand or a foot, and letting that move lead to another thus going beyond kinaesthetic movement. I notice I develop patterns of movement and follow a rhythm. I keep my eyes closed but become aware of other people’s rhythms and follow them. The movement arouses images in my head, something another participant notices.
The final exercise involves someone choosing a position and being a statue while their partner tries to manipulate them. I am paired with a male dancer. I feel weak and hopeless next to his muscled body. I copy ‘my’ statue. I align my body with his as if to connect with him physically. I hold him in an embrace and, as I do that, I can begin to shift his body. He lets me hold him and I do my best to protect him from a fall.
The workshop and the performance seek to explore transformation. For me, transformation requires reframing my experience in a new way not by starting afresh, but renewing oneself. This experiment in contemporary dance has helped me connect with my body and others to see, feel, hear, and touch the life that is around me. I become aware of the way I move, my rhythm, my body’s weaknesses and strength. It is an awareness that is made possible by being in relation with others. Transformation is a relationship.
The International Contemporary Dance Collective (iCoDaCo) perform it will come later at Chapter on 24 September, with a post-show Q&A. Performances run until 26 September 2019. Tickets available now
Who couldn’t be excited by an adult only circus? We begin our night by our intro full of comedy, verbal notes on a good time and nudity – and this is exactly what we get.
Amongst awe inducing stunts, flying high in the air, balancing
on unstable chairs, fire, whips, you name it, we get a show full of attitude,
hilarity, tongue and cheek and lots of naughtiness. It’s true that this is a
circus unlike any other.
This isn’t a show for the prudish, or the shy. The group openly admit that their idea behind the show is breaking down gender and sex roles, and so we see plenty of sexual tension between all sexes – they throughout cross gender roles, with femme and androgynous looks as well as woman taking a lead in dominance. And this shows another great step towards more open and equal performances that are popping up across the theatrical scene.
Don’t be shocked if you fall in love with these characters –
each with their own personality on show, they can be demure and intense with
more serious acts but none are afraid to make a fool of themselves, taking playful
approaches to S&M, hilarious dance routines with obscured faces by a lamp
shade and dancing to a song stating ‘turn me on’ – at this point a light switch
by their genitals can be flicked on with light blasting out. There’s no end to
the inventiveness and comedy with their routines.
And of course, the more intense stunts are beautiful, well-rehearsed
and stunning. The ability to make it look so easy, but with our full knowledge
of the strength and skill going into these. They keep their performance faces
on, even if the heat literally gets turned up as they swallow fire or keeping
their head as they are swung around the room.
Rouge is raunchy, a great degree of enjoyment and certainly a brilliant night out – For ADULTS ONLY!
Rouge plays at Underbelly as part of the Southbank Festival until the 15th September.
A combination of comedy, quintessential camp fierceness,
honesty, raw truth and pure love, Crystal Rasmussen (out of drag, lovely Tom
Glitter) brings us the story of violence, shame and betrayal he felt growing up
as a homosexual man in a less accepting world, and how his drag alternative
personality helped him to accept himself and ignore the haters.
Crystal is beautiful, glamorous and hilarious. She bares all
to us not only emotionally but physically, spinning on the stage in all her
glitter for us to cheer, whoop and love.
When she opens up to us about Tom’s past, the physical,
emotional and mental abuse he suffered for just being him, it is brought to us
in a really sensitive way and anyone with a brain on their shoulders and a
heart in their chest feels for him, feels the anger, betrayal and sadness that
there are people who could treat someone else like this.
The narrative is nicely and equally split – while there is
some hard hitting stuff, there’s as much joy and comedy and utter glamour to
help us along.
Crystal also makes us feel included – saying hello to all of
us, somehow making us feel as if she knows us one by one (and she is so
brilliant, you just WISH you were her friend!) and makes us feel welcome. It
feels like a safe sanctuary, where we are all joined together to celebrate
Crystal and Tom’s love.
Not to mention, some well-known tunes, that we boogie to, but that she sings – and what a voice! I would happily listen to her sing any song and love it more than the original. Crystal Rasmussen/Tom Glitter, Bible 2, is great fun, a wonderful night out, but a hard hitting realisation of the world for LGBTQ+ people. It is not a shy performance, the jokes are NSFW and we come away even more in love with her than before.
Have you ever been on hold? The irritating music. The
repetitive recorded voice. The infuriation. But when we reach the end and
someone answers, aren’t we polite.
The Sensemaker is a predominantly multimedia, choreographed
piece, responding to sound and music, with repetitive, but also different
gestures and movement throughout.
We are there to question what is happening, and what would
we do for the right opportunity. Some parts of the performance are comical –
the performer continues to smile but her eyes and her glances away insist she
is nothing but happy – a relatable response to being on hold; and others are unfathomable.
Would you really do THAT if you were asked? If your opportunity depended on it?
While the piece is simple, there is a sense of Sci-Fi to it.
The recorded voice and the reactions are relatable to anyone who has been stuck
on hold. But the responses that are required e.g. ‘Clap 6 times for English.’ ‘Crouch
down and take one step to the right …(for analyses)…’. e.t.c is demanding and
unusual, making this process the performer goes through feel all too much like
a potential future reality.
It feels funny but it also feels dark and unnerving –
reaching some points when you really question what she is working for and
whether it is worth it. But who are we to question when we may be in the same
predicament and willingly do the same things.
With almost 99% pure movement with sound and music queues,
The Sensemaker is a really interesting piece; being able to bring something so
deep across with only the minimal is quite a feat and a very clever response.
The Sensemaker is good fun, but also dark. It throws up a lot of questions about ourselves, our World and the Future. And watching something very ‘mime’ orientated was a breath of fresh air through the Fringe.
If there is any time for a production around Brexit, then
this is it.
But this is Volcano Theatre Company – do not expect it to be
as simple as a Brexit play.
In what looks like a village hall at Summerhall, there are
no chairs, no ‘basic theatre staging’; nothing is quintessential about this
production.
Firstly, it is AMAZING how this small group of performers
keep going. Edinburgh is unusually hot at the moment, and to then essentially dance
full stop, in character, no where to hide, for probably 15 minutes is a feat in
itself.
Volcano are well known (and gosh don’t I know it from my
training days with them as a student) for their physicality, and so there is no
fear in this when they battle over tables, ‘claiming space’ and almost throw
one another around the room. They each have a ‘character’ but there’s also an
honesty about them – we get to know them, their personalities, with the
opportunity to ad lib and interact with us alone and as a group, and from this
we get the impression of their personalities. Of course, this may just be very
good acting, but still, we enjoy getting to know them, laughing with them, dancing
with them and all the absurdities in between.
The ‘choones’ are EXCELLENT- A brilliant choice of music; it
lets us get involved, as music is a powerful tool when everyone knows the song.
And these are eclectic in themselves, with diverse nationalities and drag us
into one era, while the performers question the future; we are left in a state
of every changing existence.
The Populars is high energised fun, full of important questions, great music and intense choreography.
Let me tell you, if you like boundary breaking, the plain and simple truth and interesting physicality to name but a few, then you need Mr and Mrs Clark in your life.
A long-time fan, I have always admired their work, their
concepts and how they bring these to the stage. They are never similar, never
the same but always ground breaking and perfectly formed.
Louder Is Not Always Clearer draws upon the performance artist Jonny Cotsen and his life as a deaf person. The show Is autobiographical to an extent, but also makes you really see yourself. Using a range of media, physical theatre techniques, theatrical techniques and fine art, Cotsen brings us into his world, his difficulties but poses it in a way to create slight difficulty for us. Almost acting as if we are those who may not be as open minded and accommodating, we feel similar to how Cotsen has felt during his life – wanting to participate but being discriminated for something he cannot control.
An example of this is with use of sign language. I can
imagine not every performance goes this way, depending on who is in the
audience, but he begins a conversation with someone who can sign, finding them
by openly asking through this communication who can indeed sign. And to this
day, I still have no idea the conversation. This made me feel isolated,
confused and this was very clever. As to an extent, this is what he himself has
experienced on the other end.
He, with use of props, physicality and vocalisation makes
fun of those who are ignorant. Those who are surprised by how he can drive a
car, have children, those who almost shout at him to ‘hear’ them, normal things
that everyone can do – and through these, they are comical, sometimes heart
warming, sometimes astonishing at the ignorance and completely understandable.
Cotsen commands the stage. Unlike some of Mr and Mrs Clark’s
pieces which are abundant with physical theatre, there are times of peace, of
silence, of contemplation, and even at these points you cannot take your eyes
off Cotsen – he is simply a fantastic performer.
Louder Not Always Clearer is honest, it has no fear, it has no bullsh*t. It is unashamed, unapologetic and something fully needed in the forefront of society. Feel seen, feel informed but ultimately, come away feeling Cotsen’s emotions and with anger at those who are ignorant.
Get the Chance are working with new theatre company YEAH YEAH to support audiences to attend a sharing of an in development piece of work and then discuss their thoughts. The sharing will take place at Chapter Arts Centre on Saturday the 13th July at 7.30pm.
YEAH YEAH are a new Cardiff theatre company developing uplifting gig theatre. A crossover for those that might enjoy a musical, tribute band, stand-up comedy, or a touch of ballet.
The work in development (working title) ‘Magical Place’ is free to attend.
Expect iconic songs you know and love plus drums, keytar, lycra, laughs, dance and the biggest pyrotechnics they can afford, Magical Place is a new work still in development and the company welcome your feedback
Please note, that this is a sharing of a work in progress, and therefore not the complete anticipated production. Sections of the work will be performed, with the aim to gather audience feedback. Audience members participating in feedback will earn two Tempo Time Credits for volunteering their time.
“Tori is here to perform a musical, Morgan is here to perform a rock show.
So expect iconic musical and rock songs you know and love; comedy, dance, live drums, keytar and lycra.”
Age 16+
Duration: 1hr (which will include optional audience feedback)
ROMEO AND JULIET by Bourne , Director and Choreographer – Matthew Bourne, Designer – Lez Brotherston, Lighting – Paule Constable, Rehearsal Images, Three Mills, London, 2019, Credit: Johan Persson/
“Two household’s, both alike in dignity. In fair Verona where we lay our scene”. So begins Shakespeare’s 1597 tragic love story of star crossed lovers. Intended as a radical reinterpretation of the classic tale, Matthew Bourne’s New Adventures company does away with the feuding families, the setting and indeed many of the characters. Instead the tragedy is set within the confines of the “Verona Institute” – some form of psychiatric ward in the not too distant future. And rather than being from rival Montagues and Capulets, the eponymous lovers are two patients being treated in the institute.
Stripping back the characters and removing the text forces you to concentrate on the connection between the characters, and in that aspect Bourne’s production is excellent. the chemistry between Romeo (Andy Monaghan) and Juliet (Seren Williams) is beautiful; their moment of meeting at the party and subsequent coming together crackles and fizzes with excitement. As they weave around each other and intertwine you feel their passion, all sound tracked brilliantly to Prokofiev’s score. Their romance is the highlight of the piece, with it’s devastating ending heartrendingly performed by the pair.
Similarly impressive is the ensemble cast. As part of New Adventure‘s endeavour to nurture the next generation of dancing talent in the UK, the whole show was cast from open auditions nationwide, and at each venue on the tour six local dancers take up place in the ensemble. It is testament to their talent and the hard work of Bourne’s creative team that they blend seamlessly in with the ‘permanent’ cast.
Less convincing is the overall concept for Bourne’s piece. Romeo and Juliet has been reinterpreted in different ways ever since it’s creation. Each interpretation can reveal fresh or different perspectives, from Baz Luhrman’s film with guns set on Venice Beach to the 1957 film West Side Story highlighting the violence between rival gangs. Yet here the interpretation falls flat. Rather than rival gangs or families, the Verona Institute is divided into girls and boys. Each are generally kept apart by officious looking guards and officers, yet are allowed to interact. The two sides don’t appear to hate each other and the only obvious tension between them is sexual tension. As a result the drama has to come from a prison guard, playing the equivalent to the Tybalt role. This change in dynamic removes much of the fuel which creates the drama in Shakespeare’s script.
The other issue with Bourne’s Romeo + Juliet is the choice of location. Set in a mental institution, the cast are subjected to medication, examination and strict exercise regimes. Their movements vary from uptight and restricted in the presence of authority to wild and passionate when let loose. Yet the subject of mental health isn’t really tackled or explored. Why have these young people been institutionalised? What help are they receiving while inside? A cynic might think that the setting was chosen to tie in with the increasing awareness of mental health, and to tap in to the surrounding zeitgeist. However, in doing so did they consider how it looks to then show people with mental health problems rocking backwards and forwards before ultimately killing each other or themselves?
As a piece of modern dance, Bourne’s production is a triumph. The choreography is dazzling, the music and score have been adapted from the original with a pared down orchestra by Terry Davies to great effect and the ensemble work from the cast is excellent. Yet sadly as an overall piece of work it doesn’t feel fully thought through with regards to how the reinterpretation changes the dynamics of the piece or intent behind it. Excellent choreography and performances, hampered by issues with the interpretation.
Matthew Bourne’s Romeo + Juliet is running at the Wales Millenium Centre until the 22nd June 2019.
Awakening is a mixed bill reflecting on National Dance Company of Wales founding’s of different international choreographers. The showcase involved three works: ‘Tundra’ by Spanish choreographer Marcos Morau; ‘Afterimage’ by Brazilian choreographer Fernando Melo; and ‘Reveller’s Mass’ by Caroline Finn the Artistic Director and now Resident Choreographer of National Dance Company.
‘Tundra’
is a partnered piece that involves the dancers being in sync throughout the
whole piece. It has a history of Russian folk dance, mass parades and
revolution which is why the dancers stay connected. The costumes were also
inspired by Russian folk dance for example the skirts at the beginning gives a
mesmerising image of them floating across the stage.
In the piece ‘Afterimage’ the dancers sit at a small table using other dancers behind a mirror interrupting each other’s reflections whilst moving, like showing two types of reality all in one. Although this is the shortest piece, it gives out so much emotion. Using an illusion technique called ‘Pepper’s Ghost’ shows exactly what it states…the dancers looking like sprits coming in and out of other bodies on stage which was very bewildering but breath-taking to watch.
‘Reveller’s Mass’ is a religious fervour with explorations
of communion and ceremony involving a long water bath with candles in the
middle which explains Da Vinci’s ‘The Last Supper’ mentioned in the programme. Ed
Myhill gave a terrific performance as the cult leader and actually ended up
being quite funny at the end of the work. Each dancer has a curious character
in which they all come together using charismatic and compelling choreography.
Kristiina Kalinina
It
was an absolute pleasure to see “Awakening” at Sherman Theatre Cardiff by
National Dance Company Wales. The audience enjoyed 3 works (“Tundra”, “Afterimage” and “Revellers’ Mass”).
As a partly Russian person, I was impressed with “Tundra”. The choreographer perfectly modifies some classical Russian Folk Dance movements and fits them into the work. The idea of staying connected was probably taken from Folk Dances as well, but dancers were using their whole bodies to stay connected, not only arms, which I find really interesting and impressive.Not only movements were inspired by/ taken from Russian culture, but also costumes were created using some traditional Russian patterns. I am not sure if the music was Russian, but definitely had a Slavic motif. Apart from the connection with the Russian culture, I was in love with the lightning, a huge rectangle light and this play with the shadows gave me an unforgettable experience. I would recommend to anyone who is interested in bringing different cultures to contemporary dancing.
Danni Gordon
Tundra
is a contemporary dance work that uses elements
of Russian folk dance alongside an urban vocabulary. Marcos
Morau’s
bold style is robotically precise, trying to create something more human in
that we used to work together, in terms of connections and community. These
days we are all so disconnected.
This was the first time I had seen Tundra being performed live within the show Awakening, with no background information on it before watching the performance I was extremely mesmerised at the way it was both executed and how the design went so well alongside it. Being in first year on the dance course at USW I’m just starting to watch more varied dance performances and realise how much diversity there is within the dance sector, Tundra giving me an excellent insight into new ideas and concepts. Tundra was a delight to watch and really shows the connection and trust the dancers have between one another, allowing the audience to really relate to both the beautiful costumes that relate so well to the Russian Folk dance and harmonised precise movements.
I am glad I didn’t look at the background of Tundra before the showing of it as I feel it allowed me to have my own thoughts about the piece, before knowing the reasoning behind it. Having then looked at the programme notes it is clear what Marcos Morau wanted to explore and portray within Tundra. I think it is an extraordinary work that I would give a 5 star rating.
Don’t miss this incredible work Tundra choreographed by Marcos Morau, it’s a must see.
Becky Johnson
The
evening began with Tundra, a nod to Russian tradition with a whirlwind of
optical illusions. This is the third cast I have now seen perform the piece and
each have brought their own dynamic to it. This time it wasn’t the swift canons
nor the captivating opening sequence that brought my intention. Rather it was,
the unified presence of the performers on stage. They didn’t seem like one entwining
body which other casts had achieved but instead as individuals stood at a
united front. Each with their own way of moving but held together by their
defiant gaze and unified approach. This seemed more reflective of the Russian
Revolution in which the piece was created in memory of. However, I must admit
part of me longed to be dumbfounded at the pure skill in which the choreography
provides. But upon reflection, I must acknowledge how a piece adapts with age
and more so when you know a magicians tricks it’s a lot harder for something to
seem magical.
Despite that, Afterimage was a piece that really resonated with me. I had been to see the open rehearsals last summer so was aware of how the trick of Peppers Ghost worked. However, this wasn’t a necessary surprise needed to be impacted by the simplistic beauty of the movements and the story within the piece. The powerful relationships between the performers left you delving for more clues and causing each audience member to create their own story as to why. When in fact, there could be endless possibilities. Something possibly more beautiful than what was happening on stage, was the pure amazement of the children sat behind me. Their squeals and gasps as different characters emerged and disappeared from the set. As well as their insistent debate of how the Company managed to achieve the magic that was occurring on stage.
The final piece was that of Revellers Mass, a farewell from Caroline Finn as Artistic Director of the company. The stage was filled with a community of characters each with their own story to tell. Once again Ed Myhill played the roll of the mastermind, a role he plays extremely well, and seemed the master puppeteer for the rest of the cast. The piece was one of those that you could watch multiple times and depending on your seat within the theatre your eyes would be drawn to different narratives throughout. Although I struggled to find sense of the ending, it provided a light hearted finish to what was a brilliant evening showcasing the skills and character of the new cast. I can’t wait to see them all grow as a company and to see what else that have in store for us.
Lizzie Chatfield
Bethany Lydon
As someone with a Roman Catholic upbringing watching Revellers Mass by Caroline Finn as part of NDCWales’ Awakening 2019, I could clearly recognise moments relating to the Christian Faith and I felt I was able to make so many connections with that performance! It was enjoyable and clever to have comedic moments where the audience actually laughed out loud! It’s not always you can watch a dance piece focusing around religion and laugh!! Would love to see this again.
Lucie Ainsworth
On Wednesday 1st May 2019 I got the pleasure of watching National Dance Company Wales at the Sherman Theatre in the spring tour of Awakening. The evening consisted of three captivating pieces, opening with Tundra choreographed by Marcos Morau, Afterimage by Fernando Melo and Revellers’ Mass by Caroline Finn.
When I originally watched Tundra for the first time I was already intrigued first of all by the opening section where the floor length skirts gave the illusion of hovering across the stage with ease, and then the simplistic movements, but performed within half counts of each other to look as if moving across the stage as one being. However seeing this performance for the second time for myself made it even more interesting to watch. Having learnt sections of the repertoire from two of the company members earlier on in the year was what made it even more engaging to watch. About to enter the professional industry means that when you watch this work and have had the chance to learn it, makes it feel more accessible and less daunting to think about graduating.
Afterimage was an interesting watch with its visual effects happening live on stage making it seem like there are two dancers dancing in each others space. I do think for this piece it would vary what your reaction may be depending on where you sit. I would be keen to see it again from a different angle to experience what I may notice next time.
Revellers’ Mass felt
far more familiar to me as a piece based on what I have seen the company do so
far. Similar to Finn’s
other works in my opinion like Green House and Folk. The piece was lively and
energetic and reminded me of when I saw then company for the first time back in
September 2016. Although the company members have shifted and changed since i’ve been in
Cardiff, it’s
been lovely to see how each new member added in to the company brings something
new to the dynamic of the works.
Rhiannon Stalley
National
Dance Company Wales are a company that I really enjoy to watch in performance,
as they always seem to exceed my expectations, and pull off everything I
believe that they set out to do.
Awakening was made up of three works, Tundra by Marcus Morau, Afterimage by Fernando Melo, and Revellers’ Mass by Caroline Finn. Tundra is a piece that I have now seen twice, and is one of my favourite works from the company. The way the dancers come together to create such an incredible image has me captivated, and really takes me on the journey with them. Tundra is said to be “as mesmerisingly beautiful, as it is robotically precise.” For me I believe this is exactly how the piece portrays itself. Every time I have seen the work I have been put into a complete state of euphoria.
I
really recommend watching all of the works performed in awakening, especially
Tundra.
Zoe Mutter
I
am currently a student at the University of South wales studying dance, I
thoroughly enjoy watching National Dance Company Wales works at any showing or
sharing they offer. On the 1st of May we went to The Sherman Theatre to watch
Awakening. This showing included three amazing works created by Marcos Morau,
Fernando Melo and Caroline Finn. Each work was completely different yet still
flowed next to each other in the show.
The first work to been shown was Tundra, now this is the third time I have watched Tundra and it still gives me chills to this day. Watching the precision of 8 dancers moving in sync with each other on a bare stage is a remarkable thing, it’s something so aesthetically pleasing that I find myself being mesmerised. Watching Tundra as an open rehearsal to being performed and toured feels like I have seen it grow into bigger and better things performance by performance.
The
second work to be performed was Afterimage. This piece completely captivated me
in seconds. Going in fully blind to this piece I had no pre assumption or
wants. It was 20 minutes of pure amazement, the use of an old “trick” really
blew my mind, and to see it be used in such a well thought way with decorum and
elegance was beautiful to watch. From beginning to end I couldn’t take my
eyes of the stage, movement and dancers.
The final work was Revellers’ Mass the scenery, music, costume and movement took this piece from just a dance work to a truly fascinating performance. Just like all of the pieces I became enthralled by this piece. Its pace made it impossible to notice you’d been watching 7 dancers for 32 minutes. The movement felt like it took you on a story through the work, and the performativity displayed by all the dancers had me on the edge of my seat from beginning to end. Overall Awakening was a one of the most enjoyable and creative shows I have seen in a very long time, I would recommend for anyone to see these work. I will always be grateful to be able to watch this company and for letting me be inspired at ever show
Daniella Powell
Where
do you get lost in a whirlwind of movement that is in a world of visual awe?
Whilst
engaging in National Dance Company Wales’s Awakening tour which showed off
a variety of three different dance works, Tundra; Marcos Morau, Afterimage;
Fernando Melo and Revellers’ Mass; Caroline Finn it was evident that the dancers
alone were in direct correlation not only with themselves, each other and the
music but the use of lighting within those dance works seemed to contrast
throughout by adding significant mood swings in to and from one scene to the
next which made them all unite as one.
Tundra
set the mood itself with the dynamic, electronic and cybernetic world as Morau
described it as. How did Morau show this statement through movement and
visuals? The strobe lighting and effect which pierced the audience’s eyes as
these sharp energetic rigid small animistic gestures being performed contrasted
this somewhat settle plain light with a series of layering gestures performed
by the company making the work dynamic for the audience’s eye.
In
contrast to this Fernando Melo’s piece (Afterimage) is the focus point of my review
where I ask the question, what makes this performance? A male dancer dressed in
a navy blazer and round neck t shirt sets the scene amidst the dull lighting
and sits comfortably on a wooden chair with his arms laid out across the table
that is placed to the right side of him. A series of arm gestures are performed
with the introduction to the mirror that surrounds the scene which constantly
reveals, hides and manipulates the movement of the dancer as Melo even spoke
about this being a main priority to his work.
As
the piece goes on, we indulge in a series of uncertainty as to which side of
the stage the dancers are at, were they at the mirrored, or the fore front
space? As we get absorbed into the layering effect that spears right the way
back through the dull black back drops that captures a multi layering mirrors
of that one person performing.
These
idiosyncratic of the lighting and sound being used throughout the works that
the company brought to the stage of their Awakening tour presented a variety of
how dancers can captivate the audiences with not only their bodies connecting
but their connection towards the musicality and visual effects.
“Captivating
pieces, majestic and powerful dancers, who drew me in closely with the subtly
in their movements”
Samantha Underwood
‘Spring
Awakening’ performed
by National Dance Company is one not to miss. As a student studying dance and a
former Associate of the company it was inspiring to see the range of what
contemporary dance could be in a professional context. During this performance
the company performed three works ‘Tundra’, ‘Afterimage’ and ‘Revellers’ Mass.’
‘Tundra’ choreographed
by Marcos Morau explores the theme of the Russian Revolution. The dancers
predominately dance in unison and are frequently connected to one another. This
can be said to reflect how a variety of different classes came together to
revolt against Tsarist Russia. This work is full of intricate details and
precise timings to form an overall specific image, because of this it is very
clear to the audience when something goes wrong. However, during this show the
dancers executed it with a fairly high level of dynamic precision. Their
captivating performance alongside the set creates a tense environment for all
who watch. As an aspiring dancer this work seems like a daunting challenge. The
level of precision that is required to perform this work amazes me every time.
The
second piece ‘Afterimage’ was
choreographed by Fernando Melo. This work was a huge contrast to the previous
work, a much more softer and subtle performance. The piece involved mirrors on
stage to create the illusion technique Pepper’s Ghost. This effect allowed the
dancers behind the mirror to appear and disappear at various points in the
piece. The dancers in front of the mirror interact with the other dancers to
look at social interactions and how different people communicate with one
another. This piece was a reflective piece, there was no specific storyline so
you could interpret the piece however you wanted to. This form of contemporary
dance highlights the power of dance as a form of communication, the work could
say something completely different to everyone else. This enables the audience
to question what the piece means to them and why.
‘Revellers’ Mass’ was the
final piece, choreographed by Caroline Finn. The piece was inspired by ‘iconic
religious paintings,’
however while being based on these religious images the overall
performance was a fairly light hearted piece that focused on a variety of
different characters. The characters in this work portrayed a variety of
emotions while once again showing how contemporary dance can be numerous
things. The choreography alongside the engaging performance of the characters
created a fully immersive piece and was the perfect way to the end the show.
‘Spring Awakening’ is an ideal performance for anyone who is interested in contemporary dance or anyone who is curious as to what it is. In these works National Dance Company Wales highlight how it can be precise, dynamic, reflective and characteristic.
Lucy Lock
National Dance Company’s Wales ‘Awakening’ was an elating evening of dance works filled with culture, history and compelling narratives.
Tundra
uses visual illusions with body and costuming to create an overall bigger image
and visual art. Dehumanising the dancers to appear robotic and as if they are a
part of something bigger, working as one.
Afterimage
uses two-way mirrors to create multiple versions of the dancers, adding layers
for the audience to decide what the interactions between the dancers may be,
whether they be an after image or in the forefront.
Revellers’ Mass is an elaborate production with intriguing and intricate interactions between performers with imaginative and expressive choreography. The piece includes light and dark moments and humour. The whole work had me on the edge of my seat trying to get a closer look to become more immersed in the narrative.
A thoroughly enjoyable evening and a well thought out programme of productions. All costumed impeccably, with innovative visual effects, props and wonderful accompaniment
Stephanie Jones
Awakening by National Dance Company Wales was a show that consisted of three dance pieces, Tundra, Afterimage and Revellers Mass.
In
this review I will be focusing on the dance piece; Tundra. This piece is based
off of Traditional Russian Folk dances, mass parades and revolution, but in a
more modern context. This piece was created by Marcus Morau.
The
first thing I want to talk about is their costumes. The costumes were
colourful, patterned jumpsuits paired with plain white socks. I thought the costumes
were bold and after watching some videos about traditional Russian folk dances
I can see that they were trying to take some of the details out of traditional
Russian costumes to put into their piece.
I
really enjoyed this piece because it kept me engaged from the beginning. In the
beginning it looks like the dancers are floating around the stage but they’re
actually doing lots of really fast, little steps. After watching the videos of
traditional Russian Dances I also saw that they were using some of the moves
but in a different way. They stayed connected a lot in a line, just like they
do in Russian Folk dances so they have tried their best to explore these
movements and structures.
This
is definitely a piece I would watch again. It is full of energy and all the
dancers were coordinated. I especially liked how they used foam towards the end
of the dance to make it look like snow. I would give this performance a five
star rating.
Martha Dunbar
The
piece that stood out to me the most from the three brilliantly executed works
on this tour was Afterimage. Now I’m not sure whether that is because
I have previously watched Tundra on stage and the rehearsals for Reveller’s Mass,
but something in Afterimage resonated with me on a personal level.
The
appearing bodies that seemed to be ghostly behind the body on stage created
many enigmas for me throughout watching the piece which is what I really
enjoyed about the watch. The multiple scenarios and relationships created allow
the audience to connect and relate to their own past or even present
situations. From the first sighting of the clever, thought through optical I
connected very personally to every situation/relationship that I saw.
I
can’t
pin point what it is exactly about the creative imagery that was stuck with me
for so long after watching the work, but the delicate precision of the dancer’s
movements definitely made it an incredible watch. Having not known anything
about the piece before seeing it the first time definitely wouldn’t hinder
my decision to watch it again.
Emily Lloyd-Reed
The performance at the Sherman Theatre consists of three works which are broken up by two 20 minute intervals. The works are: Tundra by Marcos Morau which is 30 minutes, Afterimage by Fernando Melo which is 20 minutes, and Revellers’ Mass by Caroline Finn which is 32 minutes.
There
is a mixed audience for these works as they are all very different. The
programmes for Awakening provide a good amount of detailed information on the
works, and it even provides us with insight to the things the choreographers
have explored and thought of whilst creating them.
The
first work, Tundra, is intense and serious but also feels that there are some playful
aspects to it. The opening to this work is a single dancer in the space. This
opening feels misplaced because the lighting is a red square in the centre and
is dark at this point and the movement of the dancer isn’t clear
because of it. However, this opening does give some cultural context of the
work. The 8 dancers in the work appear as Russian dolls wearing patterned tops,
long skirts and float around the space creating different spatial patterns. The
dancers exit and re-enter the space without the skirt on, instead we can see
they are wearing an all-in-one costume which is colourful and patterned. They
do very precise and linked movements throughout, either in canon or unison.
Marcos Morau says Tundra is inspired by “Russian folk dance” which is why
“the
dancers are chained and connected”.
Afterimage is a very clever work where the images of the dancers appear, disappear, and multiply. The programme says that Afterimage gives the audience scenes to help them create a “personal response” but “without providing a single narrative”. This work feels quite ghost like, especially by people doing movement in unison either side of the mirror, as it looks like the person behind the mirror is their ghost figure to the person dancing in front of the mirrors.
The
set for Revellers’ Mass
is a long table towards the back of the space which is a representation of the
Last Super. We can see this table is filled with water as the dancers stand and
perform on it. There are candles on the table which are lit by one dancer
whilst church bells ring. This brings a religious aspect to the work. This is
also done using mannequins, as they can be seen as religious figures/statues.
The work begins to get wild towards the end where the dancers are dancing with
the mannequins or limbs of them and are also splashing the water on the table.
However, this calms down by a male dancer walking and standing centre stage
whilst the song ‘Non,
je ne regrette rien’ by
Edith Piaf is played.
Simultaneously,
the other dancers are cleaning up the mess on the stage which was created by
their wildness.
Fantastic to experience such a range of inspiring choreography and an articulate performance.
Infused with that distinctly Welsh edge that sets this company apart from others, the opening night for Ballet Cymru’s 2019 tour of Romeo a Juliet was a breath-taking spectacle of love, loss, power and pain. Featuring choreography from Darius James OBE and Amy Doughty, alongside Prokofiev’s classic score, a number of new dancers to the company (and to Wales) joined the more experienced faces that will be familiar to followers of Ballet Cymru. This performance demonstrated the real depth of talent that the company attracts, nurtures, and advances.
In her premiere professional performance, dancer Danila Marzili embodied Juliet with infectious passion and grace, effectively conveying the playful and childlike elements of the character as well as the inimitable pain and heartbreak leading to her death. In her opening scene, Marzili and Krystal Lowe (portraying Juliet’s friend, her confidante, rather than her nurse) expressed such a tangible affinity with one another that, immediately, I was transported directly from Newport into Juliet’s chambers. The scene ends, along with Juliet’s childhood, as she is introduced to her arranged fiancé, Paris, danced energetically by Joshua Feist in his own premiere performance with Ballet Cymru.
https://youtu.be/f9mqZN7ECbk
Opposite Marzili as Juliet, Romeo was performed by Andrea Maria Battaggia. Battaggia is a skilful dancer who returned to Ballet Cymru this year from Ballet Ireland. Having portrayed the role in 2013, this performance demonstrated the reasons behind this reprisal in 2019. His strength and passion deliver the character’s impulsiveness, tenderness, and emotion with expert flair.
Two real stand-out performances for me were two characters that are usually side-lined as secondary in the story of Romeo and Juliet. Alex Hallas and Beth Meadway, portraying Lord and Lady Capulet, conveyed strength, coldness, wealth, and power through their bodies in such a way that every time they stepped on the stage, they owned it. The costumes adorning these two characters were highly effective at complementing their status. Meadway’s dramatic poise and striking elegance as Lady Capulet was phenomenal; only to be given more depth by the implied affection between her and Tybalt (performed adeptly by Robbie Moorcroft) and her subsequent breaking down into anguish and distress at his death. This performance makes it vastly clear that these dancers are also capable actors, with every performer fully embodying and embracing their roles on the stage.
Perhaps it’s cliché to mention, but I am unable to write a review of Romeo a Juliet without referencing the balcony scene. Expertly choreographed by James and Doughty, and skilfully danced by Battaggia and Marzili to express curiosity and the passion, this famous and relatable interaction proved hugely popular with the very diverse audience present in the theatre. The setting of this scene took my breath away; the projection of a grandiose window and the stage lighting to define the setting accompanied a simple yet effective podium to demarcate the balcony. For my daily work, I spend a lot of my professional time at the headquarters of Ballet Cymru in Rogerstone, Newport. From the first sighting of this balcony while the company were in early rehearsals, I had a real desire to go full-Romeo with, “but soft, what light through yonder window breaks?” but alas, my acting days were short-lived and I struggle to keep a straight face anymore!
Image credit Sian Trenberth
Minimalistic sets are indicative of the work of Ballet Cymru. Predominantly on the stage were moveable sheets of hanging chains which conveyed elements of wealth, grandeur, and battle. Designed by Georg Meyer-Wiel, this feature was highly effective in delineating space, serving as backgrounds for projection, and expressing the well-known building blocks of the plot of Shakespeare’s Romeo and Juliet. Meyer-Wiel also designed the dancers’ costumes, with some real stand out pieces (I couldn’t decide which I preferred: the powerful black costumes of Lord and Lady Capulet, or Friar Lawrence and his entourage dressed in leather). One small criticism, however, is that I feel Paris’ green- jacketed costume was too similar in colour to that of the Montagues, and perhaps would have been more prominent if it reflected those of the senior Capulets.
Every piece of work produced by Ballet Cymru that I have seen has had intrinsically Welsh notes running through. Led by Artistic Director and proud Newport local Darius James OBE, it would be surprising to see a show from this company that didn’t include at least a few nods to Welsh culture and heritage! Romeo a Juliet did not disappoint: the title itself, a nod to the Welsh language; the projection of underneath a Newport flyover during one of the fight scenes, open to interpretation but definitely Newport; the incorporation of traditional Welsh clog dancing in time with Prokofiev’s Dance of the Knights/Montagues & Capulets… Admittedly, I wasn’t sure what to expect of clog dancing mashed up with ballet (and neither were my parents, who were visiting from across the border), but when the dancers were clogging in reasonably good time with the music – masked in hoods that covered their whole faces – Lord and Lady Capulet entered, performing in a more classical ballet style befitting of their characters. The strength demonstrated by the dancers – particularly Robbie Moorcroft (Tybalt) – whilst clogging was palpable. It is this kind of flair that sets Darius James and Ballet Cymru as a real formidable force in Wales, because this scene worked. It was memorable; it was powerful; it was Welsh. And it worked.
Ballet Cymru, Artistic Director, Darius James OBE Image credit Sian Trenberth
An integrally important responsibility of Ballet Cymru, and many other arts organisations around Wales, is to improve diverse representation within their audiences and share their art form with people who may never have entered a theatre, never mind seeing a ballet. Ballet Cymru’s Duets programme, which seeks “to support people to access dance, regardless of background, finances, race, belief, ability, and gender/orientation”, invited a number of its scholars (participants) from Moorland Primary School in Splott, Cardiff to perform the curtain-raiser at both tour dates in Newport.
Students from Moorland Primary School, Splott
Aptly named Romeo and Duets, the young people danced with skill (and to rapturous applause!) to Karl Jenkins’ Palladio, as performed by Escala. To complement this, complimentary tickets for the show and coach travel back to Cardiff were made available for the young people and members of their families. As a male adult beginner of ballet myself (I’m still aching from my second ever class as I write this!), it was refreshing to see how many boys were involved in this curtain-raiser.
It is always stimulating to see audience members experience something for the first time; four people sat on my row had never seen a ballet before, and were supporting their children in the Duets curtain-raiser. Ballet Cymru’s diverse audience, particularly when on home turf in Newport, creates a fresh and responsive feel amongst the audience which in turn connects them to the ballet they are watching. A real audience favourite was the ever flamboyant, provocative, and playful Mercutio (portrayed perfectly by Miguel Fernandes); a real excitement built up in the auditorium when he graced the stage with his presence, and almost tangible grief (at least on my row!) when Tybalt took his life at the end of Act II.
Ballet Cymru’s 2019 tour of Romeo a Juliet will continue across the UK throughout June and into July. In addition to this, in partnership with Wales Arts International, the company will be touring three cities in China throughout September 2019. Clearly, the sky is the limit for this dynamic, engaging, and passionate company and I’m excited, as ever, to see what Ballet Cymru has planned next!
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
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