Category Archives: Dance

REVIEW Chicago, New Theatre Cardiff by Barbara Hughes-Moore

Chicago, 1920s. In a city ruled by mob bosses and moonshine, misbehaviour ain’t just on the menu: it’s a way of life. If it’s fame you’re after, you might get fifteen minutes or fifteen to life – and Roxie Hart’s dream of seeing her name in the papers is one she’ll kill for. With blood on her hands and a song in her heart, Roxie (Faye Brookes) teams up with sleazy lawyer Billy Flynn (Lee Mead) to fool the masses, stealing the thunder of her rival cellmate, Velma Kelly (Djalenga Scott), in the process.

‘All That Jazz’: the Chicago ensemble, led by Djalenga Scott as Velma Kelly

Featuring classic songs by Kander and Ebb and original choreography by Bob Fosse (the trio behind the iconic Cabaret), Chicago is fresher, funnier and fiercer than ever. 25 years after its revival swept the Tonys, and nearly 50 since it first premiered on Broadway, the show’s satire of law, politics and the press could hardly be more relevant: after all, what’s the difference between a theatre and a courtroom when showmanship, not integrity, is the order of the day? Even when the actors are playing judges and reporters, they’re wearing mesh, fishnets, and leather: justice is showbiz, darling, and you’d better pray for an encore. Chicago is self-consciously theatrical, drawing attention to its own artifice: a gilt frame encloses the stage, but the set itself has no frills and few props: its simplicity spotlights the performances instead of the staging.

‘We Both Reached for the Gun’: Billy Flynn (Lee Mead) puppeteers Roxie Hart (Faye Brookes) through a press conference

And what performances! Faye Brookes brings lashings of wit and charm to Roxie Hart: one part hapless crim, one part ruthless dame. Brookes is a hilarious and vibrant stage presence, particularly when pitted against Djalenga Scott as Velma Kelly, whose stylish swagger makes for an effective foil to Brookes’ wide-eyed ebullience; their ‘Hot Honey Rag’ duet is a veritable dance masterclass.

‘The name on everybody’s lips is gonna be “Roxie”‘: Roxie Hart (Faye Brookes) and her ‘boys’

There are excellent supporting performances by X Factor finalist Brenda Edwards as the sultry Matron ‘Mama’ Morton, Jamie Baughan as Roxie’s hangdog husband Amos and B.E. Wong as big-hearted but gullible journo Mary Sunshine. Meanwhile, Lee Mead as Billy Flynn really does give the audience the ol’ ‘Razzle Dazzle’, and Scott’s sensational rendition of ‘All That Jazz’ brings the house down by the time the show’s barely started. But the Cell Block Tango might just be the standout: by the final chorus, you’ll really believe ‘he had it coming!’

A chain-smoking tap-dance

The incredibly intricate dancing is executed with effortless precision, with every Fosse finger snap and hip roll present and accounted for. The ensemble is on top form as is the superb live band, directed by Andrew Hilton, who are seated onstage in striking, asymmetric tiers. You won’t find better singing, dancing or live music this side of the ‘20s: the cast prove once again why Chicago is still one of the best musicals around. If you love the Oscar-winning movie, you’ll be in your element; if you’re new to the medium, then you’re starting out with the best. Stylish, sexy and spectacular, Chicago is all that jazz and then some – it’s the most fun you can have without breaking the law!

‘I Can’t Do it Alone’: Velma Kelly (Djalenga Scott) and Roxie Hart (Faye Brookes) take their criminally-good show on the road

Chicago is playing at the New Theatre Cardiff until Saturday 25 June

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

Dance Artists working in collaboration, The CanDo Hub and National Dance Company Wales.

Sam Nicholson

Hi Sam, great to meet you, can you give our readers some background information on yourself please?

Hi of course, I’m Sam Nicholson, I’m a dance teacher and fitness instructor down in Swansea. I have the pleasure of teaching lots of age ranges and abilities but I’m also the programme director for CanDo Hub where I get to work with 20 talented dancers with learning disabilities in our training provision.

I’m a Makaton tutor and I also work with lots of dance teachers and fitness instructors upskilling them in Additional Learning Needs.

What got you interested in dance and the arts?

I’ve danced since I was three so I’ve grown up with dance and the arts, it’s always been a part of my life and I don’t think I can see a time when it’s not going to be. I love how free it can make you, and through dance I’ve been taught so much.

You run the CanDo Hub which is for Adults with Additional Leaning Needs. You run group exercise and dance fitness opportunities, classes and day provision for adults with ALN, as well as CPD training for professionals. Can you tell us more about the group?

I set up CanDo Hub initially to provide dance and group exercise opportunities to individuals with ALN and their families. This quickly grew and a need for more specialised training became apparent – hence the start of our training provision.

Our training provision is made up of 20 talented individuals who all have Additional Learning Needs. It’s centred around giving and encouraging members to have a voice. Our teams decide their learning topics, what genre of art they want to focus on and so on. We very rarely say ‘oh no, you can’t do that’, its about finding a way to make their goals achievable and accessible. We work as a collective respecting each other and we get the best possible outcomes due to it.

The group have recently been working with Rebecca Edwards the National Dance Company Wales, Dance Ambassador for the Talesin in Swansea. How did you come to work together?

We were very lucky that Karen Thomas, Company Manager from NDCWales got in touch with us wanting to know more about our team, that lead to a meeting with NDCWales, Engagement Producer Guy O’Donnell, who put us in touch with our local Dance Ambassador. Rebecca has been fabulous and our team have really enjoyed working with her. Rebecca respects every one of them as dancers and has given them scope to add their own bits of choreography into the piece as well as expanding their knowledge and abilities. This was some of our dancers first experience of contemporary dance and they have really grown in terms of ability and confidence since working with her.

Your group performed a Curtain Raiser at The Taliesin Arts Centre, Swansea prior to National Dance Company Wales performance on the main stage. That must have been a nerve-wracking moment for the group!

They really enjoyed being part of the curtain raiser, there were a lot of nerves and excitement leading up to the piece, the performance included two teams who had rehearsed separately, the first time they rehearsed all together was 45 minutes before the performance so that was incredibly nerve wracking, hoping that that the strategies we had put in place to rehearse spacing would work! Thankfully it did and we were very proud of how our dancers performed. More importantly, the dancers themselves were very proud of themselves.

The CanDo Hub group prior to performing their Curtain Raiser

You created some visual resources prior to the performance by NDCWales for the CanDo Hub, how do these support access to an understanding of Contemporary Dance for your group members?

Visual resources are so important for our teams, it helps consolidate knowledge and helps understanding. Prior to attending, we had watched the trailers for each piece and discussed what we thought each piece was going to be like.

Then during the performances each dancer was given visual worksheet on questions regarding each performance. This really helped our dancers focus their attention on different aspects of the performance.  From set, props, costume and music, to movements and symbolism behind each piece.

The responses were great and lead to lots of discussion after the performance. Some of our dancers picked up on symbolism that for many would remain hidden. E.g Codi, one of our dancers saw within the first minutes of the piece that the flag used was to symbolise death. This worksheet was really helpful to refer back to when they were reviewing the pieces afterwards.

Codi Choreographed by Anthony Matsena Performed by NDCWales.

Contemporary dance is often abstract so there’s this common myth that someone with an Additional Learning Need wont ‘get it’, however if we as professionals provide the support in order to focus attention on certain aspects of each performance the results are often fascinating. 

We believe some of your group have reviewed the performance? What did they think?

Yes! They loved all three pieces. I was expecting them to all decide as a collective on what was the overall favourite but this led to a debate with no overall favourite chosen. What was interesting was that our dancers all had valid reasons as to why their chosen piece was their favourite overall, and there was a lot of symbolism that they understood.

They loved the spoken word section of Wild Thoughts using different speeds of movement. In Codi they enjoyed the prop work with the stick and the rhythm section comprised of clapping and stamping. In Ludo, they like how fun the piece was and the hopscotch lighting effect section.

We share a selection of quotes from the groups reviews below

“My favourite bit was the blood pumping and jumps. The dance was about mining. The red flag was blood and they waved it when people died. The music was loud. It was my favourite piece.”   Nia talking about Codi

“The music was loud and sharp. The dance made me feel jump scared but I was ok. My favourite dance moves were the dying moves and the stick work” Matthew talking about Codi

“I liked it when she turned the horn and scarf into a ship – it was funny!”  – Ross talking about his favourite part in Ludo.

“The hopscotch was fab. I liked the jumps and lifts. It made me feel happy.” Joanne talking about her favourite part in  Ludo.

“I liked it when they worked together as a team. I liked their floorwork and ballet moves. It was amazing”   Sara talking about Wild Thoughts.

“My favourite move was when everyone walked saying ‘foot foot foot foot.’ I liked the lifts too”  Clare talking about Wild thoughts.

If you were able to fund an area of the arts in Wales what would this be and why?

More opportunities for learning disabled dancers and learning disabled dance companies. As a sector we need to understand that we as professionals can learn a lot from learning disabled dancers and not put limits on their potential which quite often we are all guilty of.

What excites you about the arts in Wales?

 It’s great to see how the arts is growing and reaching all different ages, backgrounds and abilities. It’s exciting to see new collaborations and relationships starting to be made that will hopefully grow providing more opportunities for everyone in our sector.

What was the last really great thing that you experienced that you would like to share with our readers? 

The last thing I wanted to say was thank you to NDCWales!  Our dancers felt valued and respected by the NDCW dance leaders and company and we really hope we get to work with them again.  

You can find our more about The CanDo Hub here.

REVIEW Northern Ballet: The Great Gatsby, New Theatre by Barbara Hughes-Moore

Hailed as ‘The Great American Novel’, F. Scott Fitzgerald’s The Great Gatsby is an iconic tale of decadence, death and desire. It epitomized the feel of the Roaring Twenties like nothing else: an era of flappers, libertines and bright young things, where ‘anything goes’ wasn’t just a phrase but a state of mind. The story continues to captivate nearly a hundred years since its publication and Northern Ballet’s thrilling take on the tale is bolder and more beautiful than ever – no wonder that it’s returns for its third smash-hit tour, which graces the New Theatre this week for five nights of dazzling decadence.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Long Island, 1922. New-in-town Nick Carraway (Sean Bates) strikes up a friendship with his affluent and enigmatic neighbour, Jay Gatsby (Joseph Taylor). Gatsby’s lavish parties are legend – but Gatsby seems interested only in the green light across the Bay, to which he stretches out his arm night after night: the light on the dock belonging to his true love, Daisy (Abigail Prudames). With Gatsby gunning to win her back, Daisy’s marriage to the brutish Tom Buchanan (Lorenzo Trossello) is about to be tested when his affair with the socially ambitious Myrtle (Minju Kang) takes a dangerous new turn.

Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)

Directed, designed and choreographed by David Nixon OBE, the show is a visual splendour from start to finish. It’s no surprise that Nixon was nominated for a UK Theatre Award and a National Dance Award for his work here: the stunning choreography and gorgeous costumes immerse you in the Jazz Age, taking you on a whistlestop tour through Gatsby’s world. Coupled with Jérôme Kaplan’s striking Art Deco-inspired sets and the sumptuous score by Sir Richard Rodney Bennett CBE, played live by Northern Ballet Sinfonia, and you have a production that’s a feast for the senses.

Minju Kang (photo credit: Emma Kauldhar)

The ensemble is nothing short of perfection, bringing heart, soul and a jaw-dropping athleticism and grace. They convey a frenetic joy in the champagne-swilling speakeasies and sensual longing in every pas de deux. Heather Lehan oozes aloofness as socialite Jordan Baker, an effective foil to Bates’ nice-guy Nick. Minju Kang’s solos are a highlight, and the show soars whenever she shares the stage with Riku Ito (as her husband, George) and Trossello.

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

Taylor and Prudames are captivating as the doomed lovers at the story’s heart: they dance often in front of a wall of mirrors, but their reflections are distorted – just as their images of each other are – and they even mirror the movements of their younger selves, who dance behind them like echoes of the past.

Northern Ballet dancers in The Great Gatsby (photo credit: Emma Kauldhar)

Anyone who enjoys the themed weeks on Strictly Come Dancing will find a special joy in watching the show’s balletic spin on Charlestons and tangos, and flashbacks to Gatsby’s shady past are brilliantly conveyed through a phalanx of fedora-wearing crooks. Northern Ballet have captured every facet of the era’s excess, every lost love and lost chance: most of all, they have captured a sense of old-fashioned Hollywood glamour that you just don’t see these days. In their hands, Gatsby isn’t just great – it’s magnificent.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June

Review by
Barbara Hughes-Moore

Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

PREVIEW Northern Ballet: The Great Gatsby at the New Theatre, Cardiff

Abigail Prudames and Joseph Taylor (photo credit: Caroline Holden)

You are cordially invited to the most fabulous party in town. Northern Ballet, the UK’s widest touring ballet company, is renowned for its innovative, iconic reimaginings of classic tales – Cleopatra, Beauty and the Beast, and Jane Eyre to name but a few – and now their sensational production of The Great Gatsby, which opens in Cardiff this week, is bringing the glitz and glamour of 1920s New York to our shores.

Filippo Di Vilio, George Liang, Gavin McCaig (photo credit: Emma Kauldhar)

F. Scott Fitzgerald’s The Great Gatsby is a tale of decadence and deceit, of envy and excess. The titular ‘Great’ Gatsby is a self-made millionaire with a mysterious past and a long-unfulfilled love in the shape of the mercurial (and very married) Daisy Buchanan. The fallout of this doomed romance threatens the lives and livelihoods of everyone who calls West Egg home.

Minju Kang (photo credit: Emma Kauldhar)

Choreographed, designed and directed by David Nixon OBE, Northern Ballet’s take on ‘The Great American Novel’ promises to be a night of visual splendour and breathtaking skill, where dancers glide across the floor in sumptuous Chanel-inspired couture to a sweeping score by Sir Richard Rodney Bennett CBE (Four Weddings and a Funeral, Murder on the Orient Express).

Northern Ballet dancers in The Great Gatsby (photo credit: Emily Nuttall)

Whether you’re an old sport or a bright young thing, you’ll be sure to lose yourself in this lavish tale of love and luxury.

Northern Ballet: The Great Gatsby is at the New Theatre Cardiff from Tuesday 7 – Saturday 11 June

Review National Dance Company Wales, One Another, Theatre Severn, Shrewsbury, Pool Hayes Academy Sixth Form Dance Students

‘One Another’

National Dance Company Wales advertised that this piece would be ‘three dances to reconnect us’ and this is exactly what they did when the Pool Hayes Academy Sixth Form dancers travelled to Shrewsbury for their first Dance Aspirations day.

The first part of the day we watched the NDCW open dance class in the auditorium where we observed an independent warm up then a technique class led by Victoria Roberts, the rehearsal director of the company. This insight into a usually private company warm up showed us how a professional company prepare and the importance of ballet even within a contemporary company.

After this we were lucky enough to get the opportunity to interview company member Josh Attwood, who was a previous student of our teacher. He explained what it was like to be a professional dancer and described a day in his life. The opportunity to speak to a professional dancer really helped us to understand how much hard work and dedication it takes to successfully work as a professional dancer and has inspired us to consider our next steps towards this after sixth form very carefully.

A few hours later we returned to the auditorium to watch the performance of ‘One Another’ which is a triple bill.

‘Wild Thoughts’ by Andrea Costanzo Martini

We saw this piece as a celebration of the body because of the way the dancers explored their use of body, in combination with voice and movements. This choreography used animalistic movements with all dancers using contact to explore relationships. The block colour costume worked well for this dance as we felt that this could have been to emphasise the abstract nature of the piece and highlighted a lot of different gestures. The costume was abstract enough to support but not overpower the original theme of the dance. The dancers used a dynamic contrast and projected their voice to the audience with different facial expressions, which was effective to the audience as the combination of voice with movement is something that us students have not seen before and left us excited for what was to follow, having pushed us out of our comfort zones and left a lasting impression.

‘Codi’ by Anthony Matsena

‘Codi’ explores a narrative about the Welsh mining community. In this piece the lighting was key throughout the performance, with the use of headlights giving the audience an insight into working conditions for the miners and setting the scene effectively. This was also supported with the choice of  costumes. The props used gave a sense of drama and highlighted how dangerous conditions in the mine were for the workers. Throughout this piece we could really feel the level of emotion conveyed to the audience, where it goes from being excited and energetic at the beginning to sorrowful at the end. The use of voice effectively conveyed the passion of the community. Overall, this was our favourite piece because it taught us about an important historical event, helped us to empathise with miners and understand their dangerous conditions and inspired us to research more widely for our own choreography stimuli.

‘Ludo’ by Caroline Finn

The final piece in the triple bill was about transitioning into adulthood and revisiting fond memories of childhood experiences. The choreographic use of experimenting with games explored as a child was very entertaining as we tried to spot the various inspirations and witness how these had been turned into movement material. The clever use of props, such as the benches that were originally sat at the side of the stage that turned into a merry-go-round has inspired us to experiment with props in different ways back in lessons. It was interesting to see the clear characterisation within the different dancers, allowing us as the audience to explore these childhood memories through the eyes of each character all the way through. The personalised, multi purpose costumes also allowed each dancer to be playful with their character. This piece was placed perfectly at the end of the triple bill to leave the audience on a high.

After the performance we were lucky enough to be able to sit in a Q&A with members of the cast and learn which piece was their favourite, understand more about the development and rehearsal process for the show and understand how some of the pieces were created over Zoom due to Covid restrictions. Having this opportunity really helped us to develop our appreciation of the pieces and inspire us to try new approaches and push ourselves to explore movement material in different ways in our choreography lessons.

Overall, we loved all three pieces that NDCW performed; particularly how different each of them were and how the use of voice was incorporated. The performance style and characterisation of each piece was so different, which I don’t think we were expecting. We also loved seeing different props used in different ways throughout the three pieces and how the lighting was used effectively, especially in our favourite ‘Codi’.

We would like to congratulate NDCW for a fantastic show but really thank them, Josh especially, for opening up previously unseen elements of the rehearsal and preparation process for audience members to immerse themselves in – the impact the whole day has had on our lessons now we’re back in school is very clear to see and we are all better dancers for the whole experience.

Review One Another, National Dance Company Wales – Theatr Clwyd – 10/5/22

So much of what it on offer at the theatre is routine light entertainment or tired re-runs of old chestnuts. A lot of new material, despite the best endeavours of marketing departments, also fails to excite. But, off to one side of mainstream theatre, there is contemporary dance and ‘One Another’ is a show that would appeal to anyone who enjoys performance and who appreciates physical technique, vivid imagination and enthusiastic exploration.

The show consists of three pieces: Ludo, by Caroline Finn, lasting thirty minutes; Codi, by Anthony Matsena, lasting twenty minutes and Wild Thoughts, by Andrea Costanzi Martini. There are nine dancers.

Wild Thoughts is an introduction to the company, with individual dancers appearing, performing similar routines, followed by duos and trios until everyone is on stage and a lot happens simultaneously. It’s extremely energetic (the first performance of the evening?) and very tight. There might have been mistakes but you would have been lucky to spot them. Although it’s fast, athletic and technical, it’s by no means dry. The dancers add to their movements by calling out the names of body parts in a synchronised chant. It had never struck me before that the word ‘thigh’ could achieve dramatic intensity!

I’d seen Codi the last time NDCW performed at Theatr Clwyd. I found it interesting with its clever use of lights and its references to the real life of coal mining and coal mining communities. The second time around, though, as much of it is performed in semi-darkness, to make the most of shadows and the helmet lights, I missed the facial expressions which added so much to the other pieces. And, whilst the soundtrack, mainly consisting of percussive noises is appropriate, it didn’t appeal to me. Nonetheless, this is dance approaching social comment and some of the poses that were struck resonate.

Ludo was fascinating and completely mad. It is a pot-pourri of situations taking place on and around a large table and then a number of park benches, which the dancers can manoeuvre individually or link together. There are moments of surrealism, in which elastic costumes are pulled in all directions, concealing the head or the limbs so that weird shapes can be created – and moved around. Little scenes are played out, teasing the intelligence – you want – in vain! – to work out exactly what is supposed to be going on. Objects, like an old gramophone player and a jam pot, are used as toys. Elements of stage business, like conjuring tricks and trompe l’oeil occur almost randomly. There’s no logic to any of the way the moments segue together, but that’s the fun of the piece. It makes nonsense of the idea of narrative by keeping you guessing throughout. It also makes you wonder if the stream of colourful ideas came from a single choreographer (if so I’d like to have some of what she is on) or if the company contributed their own ideas to make up the mix. The soundtrack to the piece is also charming, including, perhaps inevitably, an accordion at one point. The show ends with a smile.

The only downside is that the evening can’t build as it might with a ballet or a full length play. There are effectively two intervals which are almost as long as the pieces themselves. The audience is left to sit and look at the curtain, talking amongst themselves, or to go outside into the tented reception area which was very draughty (Theatr Clwyd is being substantially rebuilt). There will be technical reasons for these gaps – the dancers need to get their breath back and the set needs to be re-jigged – but ideally, there should be something happening on stage – a talk or question and answer session or even a bit of live music. Performances engross our attention and extend our concentration. If you can find a way to do this cumulatively you achieve more momentum.

That said, NDCW are to be congratulated on putting on a diverse and original show, of the kind which keeps theatre alive. Theatr Clwyd are also to be applauded for keeping their programme varied and making sure their local audience can experience the best in modern contemporary dance.

Simon Kensdale

Review OPTO NANO Jack Philp Dance by Hanna Lyn Hughes

Choreographed by Jack Philp, OPTO NANO is a unique collaboration of dance, digital art and electronic music inspired by academic Professor Paola Borri’s research in biophysics. In the most recent version, adapted and performed within CULTVR LAB’s dome, we were guided through the journey that brought OPTO NANO to fruition through documentary style footage projected onto the dome’s interior.

Contrary to what one might expect from a dance piece inspired by science, Philp’s choreography isn’t clinical or soulless, it flows continuously in endless spirals and looks ‘at home’ within the dancers’ bodies, all of which are gifted movers. The choreography is particularly impactful through the lens of a moving camera and is complemented beautifully by the digital projections which follow, created by visual artists Uncharted Limbo Collective.

As enthralling as the show was so far, I couldn’t help but quietly hope for some live dance, so when Gaia Cicolani purposefully strode out into the space and treated us to some dancing, I was particularly pleased. It’s no wonder she is something of a muse to Philp; Gaia, a virtuosic and engaging dancer, performed Philp’s choreography with conviction and ease whilst also maintaining a degree of playfulness by occasionally making eye contact with us or by pulling our focus towards the hypnotic projections overhead. She lunged and spun in circular sequences, interrupted occasionally by delicate repetitive hand gestures and rippling body movements, hinting at vulnerability and introspection.

The live dance worked excellently in the round but was sometimes lacking a clear relationship to the digital art within the dome, not necessarily conceptually but more by design as it’s physically difficult to enjoy taking in both simultaneously having to choose one over the other in any given moment. However, the ominous electronic sound score by Welsh composer, R.SEILIOG was the glue between both dance and digital elements. Feeling the vibration of the beat pulsating through our bodies as we reclined to admire these elements dancing with one another was a mesmeric and unifying experience I shan’t forget.

Review, Paco Peña – Solera, Sadler’s Wells, By Hannah Goslin

 out of 5 stars (3 / 5)

If you have never seen Flamenco dance, they you are surely missing out. A mixture of intense, fast paced and yet graceful movement takes your breath away and yet you feel the intensity in your own blood.

Paco Peña, one of the most formidable of Flamenco guitarists and composers, rejoins with director Jude Kelly, to bring a production comparing and contrasting young and mature performers, both musically and physically. It showcases the traditional dance, and how it drips down through generations, bringing new life to the old dance style.

The first half is actually quite the surprise. In their comfies, skivvies, whatever you call them, we feel as if we have walked into a Spanish bar; the ones you see in tiny Spanish towns or slightly more glamourised on TV and film, where the older musicians are tinkering their beautiful music on the guitar, there’s a make shift drum set, and the vocalising of the locals who have impeccable singing voices. Then, while clearly not ad hoc in this case, the local Flamenco dancers jump into the middle and perform with what they feel in the soul and through their veins.

The staging is minimal – it looks as if we have stumbled on the backstage of a set. This all together is super effective and, despite being in such a large Theatre, feels intimate. However, the novelty unfortunately begins to wear off, especially when the tempo of all the songs chosen for this section have the same slow beat; it soon becomes hard to pay attention to and keep interest. While the dancing is of course extraordinary, the music beautiful, it just wasn’t enough to keep my attention going.

The second half became more of a theatrical production – matching costumes, theatrical lights highlighting pockets of the stage with either a dancer or musician. The same Flamenco style of Spanish guitar and improvised and impressive vocals, this second half is very different – the tempo is interchangeable, from something very poised and slow to fast paced and fun. While I’m sure the theatrical elements added in this half help with its impression, the mixture of tempos and approaches to the dance kept us more on our toes and waiting for the next act.

Paco Peña – Solera is a great introduction to Flamenco. To see where it comes from in tradition to the more heightened modernity. It unfortunately needs a little shake up with the dances and music they put next to one another.

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

Credit Mark Douet

 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

 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.