Review – Verve – Postgraduate Performance of the Northern School of Contemporary Dance
Hannah Goslin
3^rd May 2014 – National Dance Company Wales, Dance House
Entering the Dance House of the National Dance Company Wales, the audience already was a mix of a variety of demographics and all obviously full of excitement and interest for the show to unfold. For a postgraduate show, the turn out itself was very impressive.
The audience was left to become accustomed  in the dark until a golden haze crept across the stage, cast by the lighting to compliment the figures elegantly entering from the wings. The dancers were kitted out in skin tight golden one pieces, with enlarged bottoms. Straight away, this gave a comical effect to the beginning piece as well as a sense of confusion to the costume choices. ‘Re-wind’ took images from artist Yeruba Yelsdraeb, who drew grotesque images of figures with strange placements of their hands, large bottoms and grotesque faces. The idea behind the golden costumes in contrast to Yelsdraeb’s original Victorian style outfits was to show the contortions of the dancers bodies to compliment the grotesque characters as well as to de-gender-lise them – however, a skin tight suit obviously makes this a little difficult to achieve. I found myself in two minds about this piece; there was an element of melodrama with the facial expressions of the dancers and also an element of ‘A Midsummer Night’s Dream’ with what I interpreted from the narrative. Personally, I feel that, in dance, expressions are translated into the movements and without prior knowledge to the stimulus, it seemed out of place. However, the dancers strong movements were interesting but at the same time, left me wondering where the more ‘contemporary’ part of the dance element was.
A contrast to the first piece, ‘Mute’ began with very earthly music, costumes and scene. The programme describes this piece as ‘an intricate and haunting landscape in which narrative is torn between logic and lost meaning’ and this was very evident by the initial impressions. Mute showed more of a contemporary aspect to dance, with the usual fluidity that you would expect. However, there were contrasts between this fluidity and sharp movements, both from the dancers as an ensemble and as individuals standing out from the crowd. Dancers Marie-Corrin Chilon and Leanne Horsey, for me, stood out the most in this piece. Marie’s concentration and how she easily threw her elegant frame across the ‘haunting landscape’ was eye catching. Mute ended its stylish and energetic movements with Leanne’s jagged and intriguing movements of which seemed to become faster and faster till she was only a impacting blur.
After a short intermission, a new and completely different production unfolded. ‘You, Me, the Door and the Floor’ began as a comical and interesting work of performance art. An almost game show about love and relationships, the main character went through an experience of a dance blind date, picking planted dancers from the audience and experiencing what a relationship with each character would be like, to find the ‘one.’ A delightful and funny game show host in the form of dancer Sandro Piccirilli (who steals one of the potential loves) executed the comedy effect well and was consistently in character, as were all the dancers. Metaphorical images and use of voice and microphone technology gave this a different feel from a dance piece and was a very interesting concept. A image of a turbulent relationship with animalistic noises and dance-fight images illustrated to the audience something that we all could relate to. The energy that was put into images such as ‘jumping through hoops’ and unadulterated lust and love were consistently high and impressive to how these dancers managed to keep this at top peak while using acting and speech.
Finally, the piece that I felt we had slowly been leading up to, ‘Ocean.’ A reminiscence of ‘Mute’ with its early colours and warmth of the set and costumes was then slightly contrasted by the use of folk music, giving a more modern day twist to a potential mirroring piece. Ocean was astounding. Again, the level of energy seen through all the pieces was at its top and in fact, was above this with the constant fast paced movement. A use of deep and naturalist voices were used, resonating around the room and almost impacted you as an audience member deep down into your chest and stomach each time. Contrasts of the traditional contemporary movement to the naturalistic beating of the dancers feet with an external rhythm to the music was an impressive sight to see. The elements of dance, vocals, rhythm and acting skills show that these graduates are something special. Over all, the climax of the piece with this beat and vocals left you in complete awe and was the crescendo that one would want but not necessarily expect at the end of a contemporary dance piece.
 

Ballet Cymru has justifiably earned the reputation of going, artistically speaking, where no man – or woman – has previously dared to tread.   This double bill proves the point with a combination of contemporary dance and, in the first half, a score by award-winning Welsh composer Thomas Hewitt Jones which incorporates a major choral input, and in the second half the music of folk song.
The Same Flame
Music: Thomas Hewitt Jones
Choreography: Darius James, Amy Doughty & company dancers
The dancers of Ballet Cymru showcase their expertise in this piece, based on a 35-minute choral work portraying Olympic values, with lyrics by Matt Harvey sung by the equally skilled Vivum Singers. The combination, in itself unusual, becomes even more so when guest artist Suzie Birchwood makes her entrance. Birchwood, who won a full scholarship to train at the London Studio Centre when she was 16, but had her training cut short a year later by the onset of generalized dystonia which has left her requiring wheelchair assistance, would emphatically not want this aspect of her life dwelt upon in relation to her dancing. So I shall only say that the determination required to appear on stage as a dancer in a choreographed piece that includes lifts and pointe work is mind-boggling.   If that in itself is not deserving of an accolade, then the high standard of Birchwood’s work is even more so.
Darius James is a name well-known to those familiar with the work of Ballet Cymru, and here as is the norm with him he makes huge demands of his team of dancers who rise to the challenge with an evident enthusiasm. This is contemporary dance but James is not afraid to acknowledge, and at times make use of, traditional ballet steps and format, and does so with a seamless expertise which adds much to the success of the performance. The choral input by the Vivum Singers is considerable and of a high standard, but there is a caveat here, in that at times attention is inevitably split between the dancers on stage and the singing.
Week of Pines
Music and vocals: Georgia Ruth
Choreography: Darius James, Amy Doughy and dancers of the company.
A complete change of style, mood and scene for this work by Aberystwyth songwriter, singer and harpist Georgia Ruth, whose debut album is danced to here.   Accompanying herself on the harp, and singing in both Welsh and English, backed by guitar, reed organ, bass and drums, Ruth’s is a talent which cannot be denied. Judging by the audience reaction, and conversations in the bar afterwards, many of the audience came specifically for this and, with each of six tracks telling a different story, there was undoubtedly an extra dimension to be gained for those familiar with the album.. However, for those more intent on the structure and performance as applied to the dance interpretation, some explanatory programme notes would have been helpful. Choreographing such a piece is far from easy, and while the dancers did their best to follow the mood swings of the score it did at times take its toll.
Overall, an exciting and innovative double bill danced by a company of nine dancers all of whom display considerable talent. It remains to be seen whether or not Ballet Cymru’s declared objective of bringing in those who are wary of traditional ballet succeeds. Judging by the enthusiastic reception, it may well have done so.
Barbara Michaels

Northern Ballet
Choreography, direction & costume design David Nixon OBE
Music Philip Feeney
Review by Third Age Critic Barbara Michaels.
Golden epaulettes, crystal chandeliers and Cossacks – all the flavours of Imperialist Russia bring glitter and glamour to David Nixon’s take on this new balletic version of the rags-to-riches fairytale by the brothers Grimm. While it retains the key features – put-upon-Cinderella, her cruel stepmother, heartless stepsisters, handsome Prince and, of course, the glass slipper – it probes deep into the back story and so becomes a much darker concept altogether.
For a start, there is the music. Philip Keeney, who composed the music for Christopher Gable’s version of the story back in 1993, has managed to pull a completely different and much more strident score out of the hat, echoing the disturbing elements – child abuse et al – underlying the story. Nixon gives us two Cinderella’s – the very young girl whose father, who dies tragically at her birthday picnic, is her idol – and the young woman who captures the heart of a Prince.
As young Cinderella, Michela Paolacci is delightfully ingénue, bringing delicacy and a touching vulnerability to the role,, but it is Lucia Solari, dancing Cinderella grown to womanhood, whose grace and fragility, coupled with an expertise in a role which requires her to dance en pointe for much of the time, who deserves a major accolade for the exquisite precision of her dancing. Nixon’s choreography ups the ante for the male dancers, giving Javier Torres, as the Prince who captures Cinderella’s heart, a chance to show his strength as a soloist. However, it is in the final pas de deux with Solari that he comes into his own.
Nixon has made some changes to the concept of the wicked stepmother, first seen here. as an adoring wife who, distraught with grief at the death of her husband for which she blames Cinderella for his demise, turns against her. Some wonderful choreography with its own poignancy and heartbreak behind the cruel façade is danced with understanding by Jessica Morgan, who shows a command of the stage that bodes well for her future. And what of the Fairy Godmother?
You may well ask. Nixon has replaced her with a male Magician, danced here by Tobias Batley (who doubles this with the role of Cinderella’s father), popping up when needed and throwing the occasional magic trick or firework to keep us on our toes, at times hovering in the background, in a manner which brings to mind the more sinister Baron Rothbart brooding over Swan Lake, in the ballet of that name. Although the Magician is, of course, a benign figure, the reference, although oblique, is there. It is referenced again in what is, perhaps, the most memorable scene in this innovative production – that of skaters gliding over an icy glistening lake, danced as always to a high standard by the Northern Ballet Company.
 

 
Photo credit John Collingswood
On the 22nd of February I was fortunate enough to attend Deborah Light’s production of Hide at the renowned Chapter Arts Centre based in Canton, Cardiff
Upon my reflection of Hide I have come to the realisation that Deborah Light has managed to create such a beautiful and effective performance piece that has left a lasting impression on every viewer. By using only a few lights, minimal props and clothing, Hide forces the audience to pay more attention to the exceptionally choreographed tango, the breath taking solo pieces and experience the passionate message delivered by each dancer.
Hide manages to cleverly play with the audience emotions, seeing a naked Jo Fong laughing one moment and bordering the tears next instantly creates a confliction of feelings within us, I instantly felt a sense of distress, as though I should be rushing forward to offer my jacket to help hide her modesty. Watching the high intensity, fast paced and articulate sequence delivered by Rosalind Haf Brooks left me wonderfully exhausted and in awe of how amazing the human body can be moulded into creating such a stunning art form. And finally Eddie Ladd’s simple choice of words managed to force the viewer to take a look and question themselves and society’s judgement on others.
It constantly left me waiting with baited breath, unaware and excited by what was to follow. I found the piece a journey of self-discovery having never experienced this type of performance art before. It opened my eyes to how movement, sound and spoken text could mould together to create such a valuable eye opening experience that I would definitely want to encounter again. Deborah Light has created something raw, stripped back and bare and in that sense we cannot hide from the moral story that is being played out in front of us. Do we force people to hide? Or are we hiding ourselves?
Sarah Finch

Olympic Triple-Bill of Britain’s Best Dance Groups