Category Archives: Dance

Review NDCWales, One Another/Law yn Llaw Sherman Theatre by James Ellis

Credit Mark Douet

4 out of 5 stars (4 / 5)

One Another. It’s a phrase we need right now. It’s a phrase used quite cleverly for National Dance Company of Wales’ latest show of trio dance pieces.

Wild Thoughts by Andrea Costanzo Martini began with a repeated phase for most of the dancers. A drone note loitered the space, as their daring physicality mimic the same poses started as a daring opening. Leading into a pumped up take on Head, Shoulders, Knees and Toes, the ensemble gave us an education of their bodies, in lighting speed including slapping, gurgling and shouting. It was the energy that came of each dancer that really stood out here, some humour as well also relaxed this Cardiff audience. It put a smile on my face and made me glad to finally be back at the Sherman.

A brief respite would herald the next piece: Codi by Anthony Matsena. On a much more series tone, we wallowed in the total misery that is the mining profession. Whilst Wales is famous for local pits, the universal theme rings true of manipulating the working man and the pillaging of natural resources. If slightly too long, the dance does have some raw moments filled with fury and an unflinching desperation. Dancers are clad in orange jumpsuits, the stage is darkly lit evoking the atmosphere, though more claustrophobia could have been evoked. The lamps on their helmets could have been used for even more of a nice touch. The somber mood was jarring in the three works, though there is a spark here…

From Caroline Finn came Ludo. Quite possibly the finest thing on the stage this night, an apparition of Kafka and Ingmar Bergman. Finn’s usually expressionistic and witty moves are never far away. Benches, a detachable table and a gramophone horn used to great comic effect make up the stage in an often dizzying display. The dancers really come into their own, facial expressions also being of the utmost importance in this fun filled, child like spectacle. The choice of musical selections also remand powerful including Schumann and Meredith Monk.

Truly a charming evening, I’m glad to see our National Dance Company out and about once more.

One Another/Law yn Llaw continues on tour to Huddersfield, Mold & Bangor.

Review ONE ANOTHER/LAW YN LLAW – NDCWales, Three dances to reconnect us/tri dawns i’n hailgysylltu by Gwyneth Stroud

26 April 2022

4 out of 5 stars (4 / 5)

As Theatres look to reconnect with audiences again, National Dance Company Wales/Cwmni Dawns Cenedlaethol Cymru is back with an uplifting, energising and thought-provoking programme designed to awaken our senses and fire our imaginations.

First up is Wild Thoughts by Andra Costanzo Martini, an entertaining piece designed to focus our attention on various parts of the body.  The first few dancers open with identical moves, centred upon one downturned and one upturned hand (The Welsh title of this collection of works, Law yn Llaw, translates as Hand in Hand).  Dancers appear to be grouped into balletic, athletic and playful typecasts.  But soon the individuality dissipates, the music builds and there is a glorious band of dancers showcasing their bodily strength as one collective unit.  The second half of the work is designed to provoke and amuse, with intense focus on each body part (together with sound effects – how did that achieve that rumbling stomach?). 

The second piece is Codi (translates as Rising) by Anthony Matsena. The work centres around a fictional Welsh coalpit, skilfully lit with helmet lamps and infra-red lighting. Fiery orange overalls strengthen the feelings of heat and oppression.  The piece feels well researched, illustrating the toil, disputes, fear, camaraderie and tragedy associated with the industry throughout Welsh history.  The final section has the dancers performing as one, highlighting strength in unity and ending the piece with a sense of positivity and optimism. 

The final piece is Ludo by Caroline Finn.  It’s well documented that adults forget how to play, and that we would all benefit from harnessing the inner child in us.  Here’s our opportunity.  We sat back and revelled in the silliness of game-playing, teasing, dressing up, spinning around on benches with castors (which looked great fun).  In fact there’s so much going on at once that it’s difficult to know where to look.  Clothing is used to great effect in this piece, bright, stretchy one-pieces pulled in all directions and worn in crazy ways.  A nod to whoever selected the music:  a fantastic choice which complemented each section perfectly.  I particularly enjoyed the build-up of Schubert’s Piano Trio No 2 second movement, Andante.  A fabulously playful piece and just right to end this trio of works on a happy and uplifting note.

Review, Kaash, Akram Khan Company, Southbank Centre, By Hannah Goslin

4 out of 5 stars (4 / 5)

While the seats are still filling, and the last of the audience are rushing in for the no latecomers policy, suddenly someone is on stage. In the darkness, a faint red frame on the back wall, with his back to us.

It’s a wonder whether anyone has noticed him, with chatter still continuing, but the show has begun, and there is a eeriness about this foreboding body.

Akram Khan delivers some of the most interesting, dark and unusual dance productions. This is no different with Kaash. With elements of contemporary dance, influenced with religious, cultural and rhythmic dancing and gestures, the production delivers the deep, dark and at times frightening expressions of Hindu Gods, black holes, creation and destruction and much more.

The colours of the production are earthy and naturalistic – with browns, reds, black and whites highlighting the dancers and the stage itself. It is calming at times, making you feel grounded, and others frightening.

The sounds change from heavy drum beat, to fast paced speech in another language, to naturalistic sounds like wind. However, there is a sense of alienation theory when the sound is cranked up; it gets louder and more foreboding and sounds a little like when a killer is about to appear in a horror film. There is no sense of an end, half expecting something to make you jump but the crescendo is outlived and we are left in bewilderment.

The dancers, using leitmotif gestures that come back and forth throughout, are somehow gentle yet fierce with their movements. Effortlessly sliding around the stage, they make it look easy, but the beads of sweat show otherwise. There is a moment when we see one “breaking down”; physically it is as if she is a robot that is malfunctioning and the movements and way she contorts herself is equally natural and unnatural. It’s difficult to watch but you also cannot take your eyes away.

For a 55 minute piece, Kaash felt like an enternity of a devious world but equally making us want more. It is dark and scary but fascinating and awe inspiring.

REVIEW Michael Flatley’s Lord of the Dance, New Theatre by Barbara Hughes-Moore

Irish-American dance sensation Michael Flatley catapulted Irish dancing into the mainstream with his first hit show, Riverdance, in 1994. He followed that up with the record-breaking, worldwide smash-hit, Lord of the Dance, in 1997, which has since gone on to break records and box offices around the world. Now the most successful touring production in entertainment history, its 25th anniversary tour chassés its way to Cardiff for a limited time this week.

The music begins, and clips from the production’s history are projected onto the stage as Flatley explains in voiceover how the story came to him in a dream, and how the show made that dream a reality. Then the stage darkens, and lights appear one by one, glowing orbs held by hooded druids that glide so ethereally you feel as though you’re walking through a dream yourself. Then the Little Spirit (Cassidy Ludwig) plays the titular tune on her magic flute and awakens ‘Planet Ireland’: a mystical, medieval fantasy world ruled over by the Lord of the Dance (Matt Smith), who is plunged into an epic battle for both heart(h) and home.

Drawing on Irish folklore, Flatley not only created the show, but produced, directed and choreographed it. There’s nothing quite like Irish dancing, and there’s nothing quite like Lord of the Dance: a mesmerizing spectacle from start to finish. The degree of athleticism, precision and timing on display is astounding, with the 40-strong cast showcasing an unparalleled level of skill and boundless energy. It’s dizzyingly good: I’ve simply never seen dancing like it. Smith steps into Flatley’s iconic shoes with ease; with unmatched bravado and charisma to spare, Smith weaves such a spell on the audience you simply have to join in with the dancing yourself.

There is only one Lord of the Dance, and he does not share power – but there’s a worthy contender for the throne in the shape of the Dark Lord (Zoltan Papp). Dressed like an embattled biker king, Papp brings a sinister swagger that had the audience booing (or, in my case, cheering) as if he were a pantomime villain. His duel with Smith is as thrilling a setpiece as you can imagine, and features some of the finest dance-fighting this side of West Side Story.

There’s not a weak link or a missed step in the whole ensemble, from Cyra Taylor’s mercurial Morrighan to Lauren Clarke’s sparkling Saoirse. Cassidy Ludwig brings a puck-like, playful charm to the Little Spirit, whose performance shines even more brightly than her glittery golden costume. The music, composed by Ronan Hardiman and Gerard Fahy, segues from lilting Celtic ballads one minute to ritualistic chants and sweeping epics the next, some of which is even performed live on stage courtesy of Giada Costenaro Cunningham and Aisling Sage’s first-class violin duets and singer Celyn Cartwright as Erin the Goddess, whose heavenly interludes give the cast time for a spritely costume change.

It’s fitting that the last word – or should that be ‘dance’? – is left to the man who started it all, with a trio of projected Flatleys out-dancing one another, only to be joined by the whole cast dancing in unison. If, like me, you have a much-loved VHS copy of Riverdance in pride of place on the shelf, or if you’ve never experienced the thrill of Irish dancing before, then this is the show for you. Lord of the Dance is only at the New Theatre for a limited time, so join the 60 million people who have loved and lived this show for an encore like no other. There have been 25 years of standing ovations so far, and if last night was any indication, here’s to 25 more!

Lord of the Dance is playing at the New Theatre Cardiff through to Wednesday 27th April

Review by
Barbara Hughes-Moore

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Review Dance to the Bone, Neon Candle and Sherman Theatre by Hanna Lyn Hughes

4 out of 5 stars (4 / 5)

Co-directed by Joe Murphy and Matthew Holmquist, Dance to the Bone is a gig theatre show performed at the Sherman Theatre in Cardiff inspired by the dancing plagues of medieval times which explores what it would be like if a plague of this kind were to break out today and how society might react.

The evening started with a folky rock belter with leading vocals by Oliver Hoare who co-wrote the drama with Eleanor Yates, singing “I wanna take you dancing”. I could sense the audience twitching in their seats, itching to throw a limb or two and start a dancing plague of their own. I found myself in awe of the multi talentedness of the cast and particularly loved the music which was a catchy and refreshing mix of folk rock.

The story line is fast paced and the dialogue sharp witted with themes of grief and trauma running throughout. Joanne Bevan (Yasemin Ozdemir), our protagonist works at an insurance company with her brother, John (Jack Beale) both of which have recently lost their grandmother, with Joanne seemingly especially affected by this loss. Choreographed by Krystal Lowe, Ozdemir’s energetic dance solo was a mix of thrashing, kicking and more traditional dance moves which included some very impressive backbends. When the other characters eventually caught the dancing fever, I was particularly impressed by Beale’s agility as he writhed and flailed around with excitement during his impassioned speech about the expectations around his role as a big brother and “man of the house”.

The show ends with the ensemble finally dancing altogether under the warm glowing light bulbs hanging from above; each embracing different ways of moving, some floated ethereally and some kicked, punched and swiped the air purposefully.

All in all, an impressive display of talent and a well rounded, thoroughly enjoyable show.

Review James Larter & Meredith Monk with Bang on a Can by James Ellis

Photo Credit: Victoria Frankowski

4 out of 5 stars (4 / 5)James Larter

5 out of 5 stars (5 / 5)Meredith Monk & Bang on a Can

St-Martin-in-the-Field Church in London maintains a calendar of concerts all year. The raw energy of percussionist James Larter should shock an idle Friday afternoon audience in an hour of sizzling, sonic sounds. One might run afar from the music of composer and mathematician Xenakis, yet his Psappha was a powerhouse of force, James greatly showing off the demands of the work with ease and determination. Richard Rodney Bennett and his Marimba Concerto (the first movement) followed featuring on piano Tyler Hay, representing the allusive orchestra in this reduction. Perhaps the most stringent of the programme, Bennett’s time with Pierre Boulez shows here, with some moods of brief Messiaen, the composer being well known for more traditional film scores. James here flexed his percussive muscles with the marimba his gym rack, with Hay a smooth and well equipped companion.

Composer Param Vir introduced his premier work: Drum of Deathless, in a solo arengment. Taken from time spent in a freezing monetary in South Korea, Via has flung into the air a work of great magnitude, quite showy as James chants and clamours away beautifully. Both small percussion and the marimba are on offer, with a dexterity needed in the transfer of sounds. Temple bowls added flavour to an already spicy broth in what could proof to be a percussion favourite in years to come. James’ own piece Bedawi, utilised electronic beats, call to prayers and a middle-eastern inspired musicality. This wrapped things up well, evocative in nature, though slightly too shorty feeling more like an encore. James is one to watch.

Leading to an evening at the Royal Festival Hall with a music legend, an woman of charm and filled with vim. There was much anticipation for Meredith Monk’s first concert back in the UK for some years. During lockdown I began to engage much more with her canon: Zoom workshops, a kick starter (which I gladly pledged to) and my interview with her all added to my quest to know more, to get a more rounded sense of this interdisciplinary artist.

Entitled Memory Game, the night would feature hand picked work from Meredith’s extensive output. Starting with The Games, a galactic examination of fascism in the guise of a science fiction opera. What lovely things to hear, as always with this music. Meredith’s singers: Theo Bleckmann, Katie Geissinger and Allison Sniffing are individually brilliant in their vast scope of roles. The joy of the absurd thrives here and the thrills that feature leaves faces beaming. The dance work is also unexpected, grounded in simplistic modes of expression, yet always achieves its goal. The utter delight that was Tokyo Cha Cha from Turtle Dreams Cabaret held up as funny and endlessly charming. Migrations from The Games, saw Ukrainian tributes with blue and yellow lighting, as this touching moment stirred hearts, with Meredith near wailing, child like in voice. Double Fiesta ended with that rush hour speed, the ear worm of the night. A few encores also appears this hungry audience, the show being under 90 minutes.

I’d have loved to have heard Hocket and The Boat Song from Facing North, since Theo Bleckmann was present who premiered the work with Meredith. Though Theo’s ludicrous Gamemaster’s Song, another selection from The Games, had a bouncy keyboard riff and oodles of poses and vocal frontiers for him. The Memory Song also from the opera a sweetly scented venture into the characters thoughts as they venture out into space, with a shopping list of things now gone to them. Spaceship which opened the night gave the musicians time to wrap up and enter this universe of thoughtful ideas, harmony never comprised, melodies never to approachable. The years of collaboration with Bang on a Can Allstars also shows. The instrumentalists shined with funk, patience and the passion for every bar of music. It’s the sincerity that surprises you the most in Meredith’s art. A lack of sung words also open up much more interpretation, with a general minimalistic vein exposed. Few would argue she remains an unique voice. Few other artists have chirped, shrieked, scoffed and teased their voice like Meredith has and we love her all the more for it.

The evening ended on a high note with a relaxed post show talk with Meredith and musicians from the night. I finally had the chance to meet her in person and she always speaks so kindly of Wales, hoping to return one day. Photos and autographs were greatly appreciated, as I left filled with love and warmth.

Join Zoom song and dance workshops with Meredith Monk and her singers, see her website for details.

Meredith Monk will continue with Memory Game with her Singers and Ban on a Can All-Stars, with film screenings and Cellular Songs on tour at the Rewire Festival in The Hague, with the Cellular Songs in Nantes, Paris and Luxembourg.

Review English National Ballet, The Forsythe Evening Sadler’s Wells, Review by James Ellis


Photo Credit: Laurent Liotardo
3 out of 5 stars (3 / 5)

A return to London, a return to dance. I could not ignore the allure of Sadler’s Wells and the newest offering from English National Ballet. With choreography and stage design by William Forsythe, this was very much his evening. The showing off of his dance work bled into every moment of the night. The soundtrack over the brief night would randomly feature James Blake, Barry White and a variety of other musical taste. I pondered throughout, does it work?

The dancing on display cannot be underestimated. Yet, the music didn’t always necessarily ground the pieces and we had a choice of various petite performances of blinks and you’d miss them proportions. I want to say it felt more like strident ballet sequences fitted with pop and peculiar musical choices, having a certain charm but just not really making much momentum. The second part of the night entitled Playlist had a more club anthem feel, the audience clearly swept away with it’s frantic mania. This remained a curious take on ballet both old and new, more so of the later. There was an angular, almost cubist approach to movement, the men and women getting stirring duets or flourishing ensemble motifs. You almost want to recreate some of the poses at home.

It was the short nature of the entire night which made for a pleasant variation, two short parts with plenty of insight and intrigue. Like on this press night, this should please a lot of people, the choice of music should help break down some barriers and make ballet per se more accessible. The choreographer appears to be making waves in dance and work like this can only continue his. passions. A night like this can only define the talents of some spectacular dancers with builds that could leave most of us reeling.

Spend a night at the Fosythe Evening. It is a guaranteed success.

The Forsythe Evening runs at Sadler’s Wells till 10 April 2022

Review, You Heard Me, The Albany, by Hannah Goslin

3 out of 5 stars (3 / 5)

There really is a lack of basic, physical theatre performances these days. It is encompassed with narrative, but this is usually to explain the physicality, when the physicality is what should be bringing the story across.

With, You Heard Me, we have returned back to the basics and effectiveness with this.

You Heard Me is the true story, by artist Luca Rutherford, as a survivor of sexual assault. On a run, during the day, Rutherford was attacked and if it wasn’t for her lack of silence and fight within her alerting to a passerby, her story may have ended very differently.

The performance is a multi-media performance, expressed through a combination of physical theatre and soundscapes. As previously said, this was interesting as it is rare that artists embark on a purely physical theatre production to express their story. Rutherford almost exhausts herself with her energy and rhythm throughout the piece, showing her fight and her struggle under the physical prowess of her attacker.

However, while there were commentary, changes in lights and adjustments to the stage, it felt very one note and I felt I was waiting for the change, for the WOW moment, for that theatrical power.

By no means do I want to tread on what is a true, emotional and sensitive piece and what I found so brilliant about this was that this was not with an ending we realised. She survived, she got away, but this could have been a lot worse, a lot more like the, unfortunate, tales we often hear. And this made what she expressed powerful to all those female identifiers, or in fact anyone who unfortunately may find themselves in a similar situation.

You Heard Me had a clear message: to fight, to be loud, to not be quiet or ladylike or everything that is impressed upon us, especially in these fight or flight moments. But I did feel that perhaps some different levels to the piece would add to its power as a theatrical performance.

REVIEW Matthew Bourne’s Nutcracker!, Wales Millennium Centre by Barbara Hughes-Moore

Matthew Bourne has always pushed the boundaries of the ballet world, and he’s back with an innovative reimagining of Tchaikovsky’s most enchanting work: The Nutcracker. Having originally premiered the show in 1992, Bourne and the New Adventures team have added plenty of twists, tweaks, and treats to this sumptuous blend of the classic and the new.

The story might be sparse but Bourne and co have thrown a few more ingredients into the mix. Clara (Katrina Lyndon) is trapped in a dreary orphanage ruled by the maniacal Matron (Daisy May Kemp, dressed as a despotic liquorice allsort) and the dastardly Dr Dross (Danny Reubens: be-whipped, bothered, and be-leathered). On Christmas Eve, Clara and the other orphans are paraded around in front of the genteel governors, whose gifts for the youngsters are snatched away the moment their kindly benefactors leave. But Clara’s grown quite attached to her present: a patched-up doll who becomes a hunky prince (Harrison Dowzell) and spirits the whole company away to Sweetieland.

The stellar orchestra ensures that Tchaikovsky’s score has never sounded more magical, and the sheer skill on display is breath-taking. There’s an effortless elegance to every movement and Bourne’s playful and innovative choreography never disappoints. Lyndon is a compelling lead, especially when sharing the stage with either Dowzell or Jonathon Luke Baker’s naughty Knickerbocker Glory. Ashley Shaw is delectably devious as the sickly-sweet Sugar Plum who’s hiding a bitter centre, and shares an unruly chemistry with Dominic North as the petulant Fritz and, later, the bon vivant Prince Bon Bon (there aren’t many people who could carry off walnut whip epaulettes, but North is one of them).

The first act compellingly subsumes you into a Dickensian purgatory before transporting you to a world of candyfloss and freedom. The second act loses some of the first’s drive but dials up the spectacle: a frothy pink fever dream painted in shades of Busby Berkley and Roy Lichtenstein courtesy of Anthony Ward’s resplendent sets and costumes (though Sugar Plum and Clara’s second act outfits might have benefited from a bit more extravagance). It gets even kookier when the guests start turning up for the royal engagement, everyone from a bunch of hard-boiled Bikers to a Candyfloss clique and a trio of polyamorous toreadors. Meanwhile, the stage is set for the wedding of the century which takes the phrase ‘Let them eat cake’ to a new level – quite literally.

Bourne never takes a story at face value: he shakes it like a snowglobe and weaves magic from the debris. His brand of joyous iconoclasm breathes new, anarchic life into well-trodden tales – and make no mistake, this isn’t your grandmother’s fairy tale: there’s something deliciously risqué about the entrance to Sweetieland being through a pair of cherry-red lips, and even the title itself is a little suggestive. The whole thing is flirtatious, mischievous, and enticingly irreverent. Unlike in the original, there are no sword battles, no royal mice, and the sugar plum fairy is not as sweet as she seems. However, while removing the Mouse King from the narrative gives Clara more agency, it also pits her against another woman in the fight for a man’s affections. Sweetieland might be a transgressive utopia, but it’s still ultimately consumed with the question of which bride will join the groom on top of the cake.

Sleeping Beauty might still be my favourite of Bourne’s new adventures, but Nutcracker! is easily his most joyful. A cacophony of confection from start to finish, it’s a decadent, delightful treat you’ll want to savour for yourself.

Matthew Bourne’s Nutcracker! is playing at the Wales Millennium Centre through 26 March.

Dance, science and digital collide in this new production by Jack Philp Dance.

With dates across Wales in Swansea, Cardiff and Bangor, this hour long evening of contemporary dance will take you on an abstract and athletic journey through the cutting-edge research of Professor Paola Borri. OPTO NANO was created with an exceptional cast of five performers and explores pioneering cell imaging techniques using microscopes and lasers. Using dance to bring biophysics to the stage, the choreography proudly champions collaboration from across different worlds in a dynamic burst of movement, light and colour. Powered by an electronic sound score from critically acclaimed Welsh composer R.SEILIOG, the work celebrates the arts and research that modern Wales has to offer.

Jack Philp Dance is lead by choreographer and director Jack Philp. A Wales based artist with a fascination for science and digital technology. Lead by the latest advancements in the world around us and driven by a love for the physical body, his work seeks to capture the wonder in those things through energetic, colourful and collaborative choreography. Jack has toured work with his independent collective as well as choreographed for companies and universities across the UK; presenting work on stage, film and for digital experiences. 

OPTO NANO tours Wales with dates in Swansea, Cardiff and Bangor from March – April 2022.

You can book your tickets here: https://www.jackphilpdance.co.uk/opto-nano-tour

3rd March: Swansea – Taliesin Arts Centre

19th March: Cardiff – Dance House

7th April: Bangor – Pontio

30th April: Cardiff – CULTVR LAB **immersive digital performance