Category Archives: Dance

Reciprocal Gestures:A new season of dance and movement at Chapter


Image: Marathon of Intimacies: Jo Fong & Anuishye Yarnell, courtesy the artists.

Chapter is thrilled to announce Reciprocal Gestures: A Season of Movement and Dance, this September to December. The curated programme will celebrate shared moments and explorations of masculinity, queerness, ageing, the after-lives of colonialism, intimacy and community with performances and events from Gareth Chambers, Seke Chimutengwende, Emilyn Claid, Lewys Holt, Good News from the Future, Anushiye Yarnell and Groundwork Collective.

Across this season, performances from some of the most exciting contemporary dance artists come together alongside talks, open classes, scratch nights, screenings and special events, to put artistic sharing at the centre.

Chapter’s performance programme is a space for experimental and interdisciplinary live art practices, where artists are supported to take risks and audiences can find exciting, original, and accessible works. Chapter’s commitment to this work speaks to the rich history of supporting radical live art practices, and it’s unique position in Cardiff as a multi-artform venue with the capacity to support artists to develop their practice and share their work in dynamic ways.

Performance Curator Kit Edwards, shares some of her thoughts on this exciting new programme:

“The dance ecology in Wales is at a particularly exciting moment where artists across disciplines are coming together for creative exchange. A strong community of artists working with dance have made Chapter their home and we’re keen to celebrate what they’ve built and bring it into conversation with some incredible international dance artists who are performing in Wales for the first time.”

Find out more here

Review: Oat Milk & Honey, Mo-Ko Piano & Circus, Ed Fringe, By Hannah Goslin

 out of 5 stars (3 / 5)

In a small, circular lecture theatre, we are brought an avant-garde expression of anxiety through the forms of dance, circus, music and .. oh a Llama.

From an Australian duo, Oat Milk & Honey quite effectively use their platform to share how anxiety feels, not only for the person experiencing it but also the impact on others.

There is no narration or vocals bar the occasional breath of the moving performer and pre-recorded voice overs but the silence is filled with beautiful, original compositions which occasionally go off-piste to express the interruption anxiety can create.

It feels relatively slow paced and it would have been interesting if there had been a change of pace. There was a little of this, interrupting the seriousness with an element of comedy when a performer comes in dressed as a Llama, reflecting the fact of serotonin created from watching Llama’s run which we hear at the beginning in a voice over.

There’s no doubt that both of these performers have great talent in their own right; a talented composer and musician and a very flexible and powerful dancer, circus performer. And each part of this performance is really interesting to watch but continues at the same pace which loses attention.

Oat Milk & Honey is transcendental and soothing, with a poke of humour but needed some different speed levels to keep the intrigue.

Review Peaky Blinders – The Redemption of Thomas Shelby,Ballet Rambert, Wales Millennium Centre, Cardiff by Barbara Michaels

Peaky Blinders – The Redemption of Thomas Shelby

Ballet Rambert, Wales Millennium Centre, Cardiff

Writer and Creator: Steven Knight, CBE

Choreographer and Director: Benoit Swan Pouffer

Composer and Orchestration: Roman GianArthur

Reviewer: Barbara Michaels

 out of 5 stars (3.5 / 5)

No need to stress if you didn’t watch the TV series.  Ballet Rambert’s Peaky Blinders is in a class of its own, unique both as a production and as a dance form. Although danced in the main in contemporary dance style with more than a touch of street dancing – razors, knives etc – choreographer and director Benoit Swan Pouffer uses classical dance moves too. Not only uses them but dares to improvise, building on to the traditional with innovative use of classical ballet moves – with a dancer even performing a plié in mid-air.

Beginning with a brilliantly depicted scene from the battlefields of World I, the ballet moves through the life of one Tommy Shelby down the years, showing through him the ways in which those who fought in this horrendous war were affected throughout their lives even in they survived – a living death, as it were.  As it moves on through the post-war years, Tommy’s life segues into a violent world full of murders and gang warfare, with knives and razors flashed – the latter hidden in and the raison d’ètre for – the peaked caps that gave the gang its name. This historically accurate production is not for the faint-hearted, but is well worth taking a deep breath and immersing oneself in what it portrays through dance form.

Creator Steven Knight, who wrote the original script for TV and together with Pouffer, adapted it into dance form, uses a live band on stage throughout for gunfire, air raid sirens and a plethora of music and sounds which works well in tandem with ever-changing themes composed and orchestrated by Roman GianArthur. Natasha Chivers’ lighting aids and abets, of particular note being the scene with searchlight beams and in the second half where an opium-fuelled Tommy descends into a living hell.  Benjamin Zephaniah’s voiceover is both necessary and succinct, while set designer Moi Tran’s clever sets lend an authentic and atmospheric touch throughout: a colourful carousel lends a light touch for one scene. Having the dancers on two levels gives additional scope but at this venue means that audiences in stall seats are unable to see the dancers’ legs!  Ben Zephaniah’s voiceover is both necessary and well done but pre-recorded vocals – recordings of different tracks which, despite being relevant, are over-loud for much of the time.  

The love story between Shelby and his long-time sweetheart disappears and resurfaces throughout lending a necessary lightness of touch, as does a great scene in the second half with dancers dressed in costumes by costume designer Richard Gellar reminiscent of photos of Marilyn Monroe in her early days (a la Moulin Rouge or Talk of the Town for those old enough to remember these iconic London night spots!)

Ballet Rambert is justifiably famed for the high standard of its dancers, and this production underlies this with memorable moves executed with skill. Mention must be made here, in addition to the expertise of the dancers – notably Naya Lovell, Simone Damberg Würtz and Caiti Carpenter -of Musa Motha who, despite losing a leg to cancer when he was just ten years old, does not let that factor deter him in any way, resulting in a performance that is a privilege to watch not only for its depiction of the role but its perfection of technique.

Runs until Saturday March 25th at Wales Millennium Centre Cardiff, then touring.

Pioneers, Ballet Black, Barbican Centre by Tanica Psalmist.

Cassa Pancho is the founder & Artistic Director of Ballet Black. Upon her graduation in 2001, she gained a degree in classical ballet where her journey to found Ballet Black began, produced with the aim to provide role models for young, aspiring black and Asian dancers to feel empowered irrespective of the discrimination black ballerinas continue to experience worldwide.

Pioneers by Black Ballet, Co-commissioned & performed at the Barbican Centre is a time travelling storytelling, adventure of dance, poetry, jazz, music, passion, magic and aspiration. Featuring nine breath-taking dancers named: Jose Alves, Sayaka Ichikawa, Isabela Coracy,Mthuthuzeli November, Ebony Thomas, Alexander Fadayiro, Helga Paris-Morales, Taraja Hudson and Rosanna Lindsey.

William Tuckett, choreographer of the first section of the ‘Then Or Now, takes the audience Into an adventure of love, war, connection and human experiences. The work features poetry by Adrienne Rich (1929-2012), directed by Fiona L Bennett, with poetry recordings from Hafsah Bashir, Natasha Gordon & Michael Shaeffer. The costume designer was by Yukiko Tsukamoto. The concept of using poems was distinctive, meaningful and enchanting. The themes explored were attachment, love, hope and the journey of humanity.  During this set, we symbolically see character building, the symbolic passing objects to reflect connection and warmth in an abstract way and expressed through grandiose ballet movements of fluidity, subtle gestures, soft lifts and poetical turns.

The second half features Mthuthuzeli November’s Nina: By Whatever Means. This work embarks on storytelling the life journey of Nina Simone. Each dance piece demonstrates Nina’s zest for life, her influential messages, her spiritual nature and sound – risen from her powerful statements in the past such as; ‘An artist’s duty, as far as I’m concerned, is to reflect the times‘. During the beautiful melodic set of her track ‘Sinnerman’ we are exposed to how Nina worked all her life to become a black classical pianist, growing into a beautiful woman with ambition, life and depth. It was evident whilst watching that the aim of retelling Nina Simone was not to play her greatest hits but to show her fight for success, passion and reflect how she set herself for us the right way to be artists. 

It was magnifying to re-live Nina Simone showcasing her talent live in this piece of work, especially due to the impact that was well portrayed choreographically, as it foretold the feel her music had, her breath and attitude, as well as her struggles, battles and turmoil she faced, where the rest of the dancers became her inner demons, as well as her inner powers, which was moving to see.

Starting off with Baby Nina, the aim is clear that her story is to be told choreographically and not show the legacy of her life musically. Telling her story & her life journey from being young and innocent, unexpecting of non-stop worldly attacks for becoming a conscious black musician and soulful artist for humanity. The theme being loss and power, due to how black lives are forced to lose their innocence but restored again by finding and fighting back with power.

The Ballerina ‘Isabela Coracy’ who played Nina Simone quoted ‘Every night is an investigation to play Nina simone to know who she truly was, there are loads of ballets to learn and therefore, she is still discovering how to capture the details of Nina Simone through dance to reflect her sense of power correctly, especially when listening to her song ‘Sinnerman’ what it represents and the incredible burning love she had for humanity. 

Ballet Black is a safe space that evidently reopens eyes to know what it means to be an artist and acknowledge non-discrimination as a top principal, where you can think about being an artist to embark on the notion that aims to continue to normalise freedom, diversity, empowerment and love within society.

NINA: By Whatever Means: Co-commissioned by the Barbican.
Choreography: Mthuthuzeli November
Lighting: David Plater
Costume design: Jessica Cabassa
Composers: Mandisi Dyantyis, Mthuthuzeli November & Nina Simone (1954-2002) Featuring the
voices of the Zolani Youth Choir

Review, The King and I – Venue Cymru by Richard Evans

Venue Cymru, March 7th to 11th 2023

Rodgers & Hammerstein, based on Margaret Landon’s book Anna and the King

Howard Panter for Trafalgar Theater Productions

 out of 5 stars (4.5 / 5)

“How will I know when I know everything?” “When you are King!”

This faithful production of The King and I portrays the unexpected love story between the King of Siam and a schoolteacher really well. It also draws out a series of dilemmas thrown up by a remarkable passage in history, not least the problem of how one inherits omniscience!

At its heart it is the story of two people, the King and Anna, but like much of Rodgers and Hammerstein’s work, the apparently light musical romance is rooted in political change.

For generations, each king of Siam had ultimate power within his protectorate, but the current king is now struggling to reconcile ancient rights with modern progress and the pernicious influence of western colonialism. The king is seen as barbaric, even though the show is set at the same time as the American Civil War, and only shortly after the Indian Mutiny. 

In fact this king is an educated, intelligent man trying hard to balance his autocratic power with a more considerate, conscience-driven approach.  

Opposite him is Anna, an intrepid, forthright widow employed as a teacher to the king’s children – all 67 of them. She arrives in Bangkok accompanied only by her young son, having never lived outside the British Empire. The culture shock in itself would be extreme. 

While others say what they think the king wants to hear, Anna  speaks her mind, becoming a “difficult woman” in the process. Her arrival throws up a number of clashes of culture, attitude and morality, some of which become humorous. Why did Western, Victorian women wear dresses with hoops ten feet wide?  I have no idea.  It is slightly ironic that I viewed this production on International Women’s Day, which seeks to raise the status of women worldwide today. Anna repeatedly asserts her right to be treated with dignity and equality, yet the king sees the role of a woman as merely to serve a man.  

There is therefore much to take from this story. Helen George and Darren Lee are excellent as the leads and are ably-supported by the cast, in particular the children. The score has a number of well-loved tunes, and Marienella Phillips showed her operatic voice to good effect as Tuptim, the chief narrator, a slave girl with an education and attitude.  The choice of Uncle Tom’ Cabin as a showpiece play for western visitors is a definite dig by R & H at US society.  

But there is a problem with this show in the present age: what was vital, bold and brilliant in 1951 lacks the intensity and grittiness that has become today’s standard. It has become a period piece. Some of the songs are very much of their time, and rather twee. 

But this criticism nonetheless admits the show’s classic status; it’s a rattling good story. The score may seem dated to some, but others will recognise their enduring appeal. The audience, of course, lapped it up from curtain-up and offered a sincere ovation at the end. For all its age and increasing creakiness, no one can deny its star quality.    

Review Strictly Ballroom the Musical, Wales Millennium Centre by Rhys Payne

 out of 5 stars (3.5 / 5)

Having been a fan of musical theatre for many, many years you can imagine the outrage when I announced at a family gathering that I had never seen quite possibly in the world’s most successful musical Les Mis. My Aunty who showed particular astonishment decided that she would host a French evening (complete with French food) in her home so she could be in close proximity when I experienced this musical great for the first time. We had gathered our snacks, donned our French outfits and were settled ready to switch on the TV only to discover that someone had borrowed the DVD a few years ago and had yet to return it. This meant that we had to scramble around the house looking for another musical movie based in France which is when we stumbled upon the absolute chaos that is Moulin Rouge. Since this unplanned viewing, I very quickly fell in love with “spectacular spectacular” that is movie musical Moulin Rouge and it was only after researching the show for a review of the west-end, musical adaptation production that I discovered it is apart of the Red Curtain Trilogy directed by the iconic Baz Lurhmann. In this collection are Moulin Rouge, Romeo and Juliet and the lesser-known but most important for this musical review Strictly Ballroom.

I think it is incredibly important that different musicals can be opportunities to tour through the UK as you quickly get used to the same shows being on a multi-year rotation. Prior to becoming a musical reviewer, one of my favourite things to do would be book a ticket to a random show that I have never heard of before. I don’t know if it’s the excitement of understanding characters, plot and themes as they happen live but this mystery was always extremely exciting to me. Due to the same shows touring year after a year, you unfairly begin comparing casts and so it is incredibly refreshing to see a show such as “Strictly Ballroom” which I had very little knowledge of before going into the theatre. In fact, I remember a conversation with a close friend a few years where this musical came up and I questioned how they made a musical based on the BBC show Strictly Come Dancing which was met with scoffs from those listening. For those like myself who have not heard of this musical before, Strictly Ballroom (with no connection to the hot TV show) is about Scott Hastings, played wonderfully in this production by Edwin Ray) who is a professional dancer at the top of his game who begins to questions the rigid rules and restrictions of ballroom dancing. This revolutionary spirit leads to him forming a dance partnership with amateur dancer Fran as the pair prepare for the biggest dance computing in the ballroom community!

A highlight performance for me throughout this musical would have to be Eastenders star Maisie Smith who comes fresh from her stint in the aforementioned Strictly Come Dancing. Maisie plays the ugly-duckling style character Fran who is essentially plucked from obscurity to dance with Scott ahead of his championship quest. Maisie managed to beautifully portray every aspect of the character from the awkward and amateur dancer origins to the confident and bold change-maker. Seeing this character go through this journey of confidence almost overshadows the fact that (SPOILER ALERT) the duo do not end up being awarded the first place trophy by this development is worth more than any ward possibly could be! Her comedic timing was absolutely perfect throughout leaving the audience howling with laughter, especially during the earlier stages of the show!

My favourite number in the entire show however would have to be “Paso Doble” where Scott tries (but fails miserably to impress Frans’s father with a ‘traditional Spanish dance.’ It is only once her father played by Jose Agudo begins to show the dancer how this dance should be really done that the music begins to beautifully build up into a wonderful ensemble, dance-heavy spectacle. Before everyone can join in Jose showcases his dance still with an incredible stamp-based choreography where he doesn’t miss a single beat and controls every inch of the stage!

Jose Agudo

Overall, Strictly Ballroom celebrates a very traditional art form in both a homage but also a message of contemporary revolution. The narratives with the story are all timeless stories that are done very cleanly and simply so that every person in the audience can understand and appreciate how each character functions within the story. I do have to admit that I think the scale of the show needs to be exaggerated so that the sense of rebellion can be extremely clear and obvious and for that reason, I would rate this show 3.5 stars out of 5!

Review Contemporary Dance 2.0, The Hofesh Shechter Company ,Battersea Arts Centre,by Tanica Psalmist

 out of 5 stars (4 / 5)

Choreography and Music: Hofesh Shechter
Performed by: Shechter II
Lighting Design: Tom Visser
Original Costume Design: Osnat Kelner

The eight performers performing in Contemporary Dance 2.0 from Hofesh Shechter and his award winning company Shechter II, were; Tristan Carter, Cristel de Frankrijker, Justine Gouache, Zakarius Harry, Alex Haskins, Oscar Jinghu Li, Keanah Faith Simin and Chanel Veyent. They are sensational, adapting perfectly to the Shechter style, which is one minute smooth and sinuous as silk and the next pulsing to a frantic beat of rapid, exhausting movement, as relentless as a heartbeat.

Each dance piece gets divided into five sections, which were signed by the dancers holding up rough cardboard. It begins, with my all time favourite ‘Pop’, with Michael Jackson inspiration posing, followed by ballroom, frantic, electric jumps & contemporary dance moments of joining hands and forming multiple, beautiful dance stunts & visual images.

Freedom of expression through sensory movements were expressed by all eight dancers’ synchronised & projecting an aura of internal power through pop dance, feelings of motherhood and pain/relief experienced by our bodies channeling energy in complex journeys. Seductively taking eyes across the audience as their bodies effortlessly & vigorously flop and rise with their fluidity hypnotised, leaving you mesmerised to the depths of how pop culture, embodying Michael Jackson – the King of Pop’s symmetrical famous moves.

The music was upbeat. In beat we witnessed a fusion of dance styles such as krumping, popping, electro funk gliding to the counts within the music flow that went to the rhythm of 1,2,3,4 – however, automatically speeding up to match their heartbeats drumming to the beats 2,4,6,8. This soon boomed to a higher frequency as they began spinning, break out dancing and exploiting various other dance sensations like ballroom & contemporary thanks to the Israeli choreographer Hofesh Shechter.

Each dancer colourfully dressed visually moved our brains as their facial expressions epically motioned feelings of strain, reactions of excitment & vanity. You could feel the dancers’ hearts race, pumping to the counts of 10, 20, 30, and 40.

A 50 minute non-stop fusion of intensity taken to the stage. Hope was their supply, influence was their leader, precautions were their discipline, and spirit guided was their teacher. Flexible bodies slid springing along the floor; resonating solitary on stage, the lights set the mood remaining predominantly dim lit.

Well incorporated into the dance moves were light bouncing, embracing, smiling, culture, architecture of hearts rejoicing, as their bodies sprung like tigers. Towards the end played ‘The End’ by Frank Sinatra. It became an expression of unity and life between the past and present of home manifested through pop, hip hop & other dancing styles high on energy, moving to a completely different beat working strangely well, appearing extremely beautiful towards the end.

The music consisted of heavy deep drums and heartfelt string instruments. The ambience was uplifting as it radiated emotions of tranquillity, hope, victory and a full tribe of life. Each dancer individually performed a solo as themselves, which conveyed their stamped identity. Towards the end all moves moulded into one! A high off of energy, fire and enjoyment, zero stopping until the stage was cleared making you want to watch forever. Not to be missed!

Contemporary Dance 2.0 will be at Battersea Arts Centre, London, until the 29 October.

 

Africa Fashion Week, Freemason HALL 2022 Review by Tanica Psalmist

 out of 5 stars (5 / 5)

‘Africa Fashion Week’ successfully celebrated its 12th year anniversary on the 8th & 9th October 2022 taking place in London, Freemason Hall. To ensure 2023 fashion show was another sell out 2022 had to be truly African infused & it truly was!!!

Credit Tanica Psalmist

A grand exhibition showcasing several merchants, latest garments & handmade jewellery made from various crystals, minerals and materials such as ebony and stone for starters! It’s no doubt that the Motherland was truly represented with deep infused floods of Africa’s rich culture, boutiques, diverse beauty & celebratory inspirations, influence & contentment oozing from the models onto the audience.

Credit Tanica Psalmist

I attended both days to glimpse AFW in every detail & glory from behind scenes, mental preparation to the adequate appreciation for the designers clothes, which all were worn to perfection! Many of the Fashion designers this year included; Pills, LN Watches , Sluvin Designs & Durban South Africa , Gugu Boutique, May M Designs, Massassi B, Twelve19styles, Ethnicity Clothing , Fresh by Do Turn, Slungile Mokoena Designer, Black Snow Men , Dogan Culture , Fashion Ash & many more great legends who’s brands captured, elevated & fulfilled the purpose to represent African designs on a global & grand scale.

AFW is more than just about diverse beauty, fashionistas, togetherness, celebration, unity, embracement, inspiration – it’s about elegance, royalty, Deity, learning, engagement & witnessing the beauty of freedom, culture, love, passion & acceptance.

Credit Tanica Psalmist

A typical start at AFW entails early starts booming intense makeup prep, dress & tech rehearsals & in return audience energy, infusion & model excellence! The unpredictability of unexpected authentic African dance styles is what makes poses equally exciting! certain poses entailed dance styles, such as; Ikpirikpi- Ogu (war dance), Atilogwu (Acrobatic Dance), Mmanwu (masquerades), Omuru onwa & Agbacha-ekuru-nwa, Indlamu, Adumu, Kete to name a few, hitting our eyes with eloquent spins, twirls & flirtation. The entire atmosphere took you to the African continent flight free for a truly memorable, captivating & rewarding evening.

AFW’s statement this year was to love yourself unconditionally & that your worth is not determined by the worth of high end fashion brands but by the price of realness, quality, uniqueness, happiness, tranquility, innocence, projecting your soul & to embrace the individuality of African culture, passion & depths of the motherland’s diversity.

Credit Tanica Psalmist

Nothing spoke louder then Sunday’s event where we witnessed the community within the audience come to life! oozing out positive intelligence, passion, enthusiasm, self love & a reminder to be you & live as you & be the best person of yourself, good job AFW – ROLL ON AFW 2023!!!

Review, The Rest of Our Lives, Jo Fong & George Orange, Edinburgh Fringe Festival, By Hannah Goslin

 out of 5 stars (5 / 5)

I’m going to begin this review with a very strong opening. A strong, and 100% deserved opening: If there is one thing you do this year, it’s go and see The Rest of Our Lives.

The Rest of Our Lives is a post-pandemic show in some respects but it isn’t about the pandemic. It is a question of what we do after a monumental change in our lives. How do we cope, move on, return to life as we know it. How do we enjoy it and laugh, and love, and cry. How do we become us again. How do we create community again.

This brilliant show is prime example of the unique, inspirational and exquisite style of performance that comes only from the Welsh theatre and arts scene. Perhaps some bias in my admiration for Jo Fong that has stemmed since my own performance training years in Wales, I still stand by the genius and beauty behind this piece with George Orange.

The Rest of Our Lives is a physical theatre, multi-media, dance and movement piece. It is comical, warm, open and personal. There is no barrier between us and the performers – we are welcomed and treated as friends, making regular eye contact and somehow having a feeling of a personal relationship with the performers, as if we were in their living room of an evening.

Physically, the performance was abstract yet gentle and evoked any emotion from hilarity to sadness. The performers pushed themselves to the limits and broke physical and environmental boundaries without a sense of fear or hesitation. There was many a moment that I found myself crying at how moved I was at their portrayal of normal human elements such as romance and pain, and how I would soon be laughing and smiling through my tears. I didn’t feel like an audience member – I was a friend, a family member, some one close and welcomed and it was such a unique and beautiful feeling and created so simply yet mysteriously – that space felt safe as soon as we came in and I still can’t pinpoint why; the signs of a successful production.

Audience interaction is a huge part of this show and it continues the feeling of inclusion in the action, with no formality to any of the proceedings or interaction. It created an almost immersive atmosphere that you never wanted to end. Finishing the production, we are welcomed onto the stage where we dance and sing to Donna Summer and congratulate Fong and Orange. Hardly any of us know one another but there we hugged, we held hands, we sung together as if we were in Karaoke and all of it was euphoric, beautiful and special.

The Rest of Our Lives is a triumph of theatre, dance and physical theatre. It is everything and more that Welsh theatre brings to the table and is unlike anything I have ever seen. It reminds us of who we are and once were and brings us together as humans and friends.

Review James Bonas with Anthony Roth Costanzo, Glass Handel, ENO/BBC Proms 22,The Printworks by James Ellis 

 out of 5 stars (4 / 5)

In a return to the BBC Proms in London, a new venue for the festival would call. Whilst I’ll confess  the Printworks in Canada Water is a bit out of the way for this travelling reviewer, it was a fleeting chance to see another side of London. In a more laid-back, approachable look on classical music, the venue itself on first appearance looked cluttered, very busy.

 As things went on, I found the whole thing to be truly wonderful, the direction of James Bonas with a metaphorical butterfly net keeping everything grounded, yet delightful.

The head turning array of soloist, orchestra, dance, art, beat-boxing and sound design filled the venue with the ambition of a classic happening. The star of the show was very much American counter-tenor Anthony Roth Costanzo who has dazzled audiences across the pond and over the world. It is his clear sex appeal and queer ideals that dust the show with beautiful goings on. In both the bejewelled Handel and Phillip Glass repertoire (extracts from both their operas, some never heard at the Proms along with a world premier from Glass) he proves his broad taste and mighty passions, his voice sharp and touching. 

All the other goings on segway well into each aria, the dancers never quite getting the limelight (with emotive choreography by Justin Peck). The live painting of Glenn Brown was only truly visible to one side of the vast elongated factory. Players from English National Opera and conductor Karen Kamensek never wained is this apparent gamble that paid off all round. Costumes by Raf Simons are billowy, colourfull fun creations, slight and web like for the dancers, exaggerated for Costanzo.

Jason Singh would beatbox and add whispy vocal tricks to make space between the notes of the arias. What almost attempted to steal the show was the finely crafted surreal video work which graced the brick walls. The likes of James Ivory with Pix Talarico, Tilda Swinton and Daniel Askill and more had unsettling, vivid and witty films that got away with a lot of it’s demands. 

A fine event I won’t forget yet.

You can listen to the event on BBC Sounds here