Motionhouse: Hidden

Warwick Arts Centre, Coventry
February 6, 2025

It very much features the company’s trademark blend of acrobatic choreography, pulsing music, digital projections, a shifting set. And yet, at the same time, Motionhouse’s latest work, Hidden, is a little different.

Artistic director Kevin Finnan’s works are always deeply thought, but I’m not sure any has reached out and touched as Hidden. He and Motionhouse are known for their daring acrobatic, ensemble dance that I’m sure reaches new heights with every new show. But here, the first ten minutes or so in particular offers something very different in the shape of three solos and a duet that are not only very human in an emotional sort of way but that invite you to feel for and identify with the characters being portrayed.

Blair Moore is seen in a city street. In his own problematic world, he tosses and turns like someone trapped in a washing machine, he looks out, reaches out to people passing on the film, but no-one even pauses as they pass by. Beth Pattison and Olly Bell are found in a swish apartment, in what is clearly a very loving relationship. Back outside and to a park, where Alex de la Bastide is also embodying her issues, twisting and turning at speed. Not so much wash as spin cycle. Finally, to a rather messier flat and Dylan Davies, who, thanks to a neat bit of camera work and staging, appears in the computer game he’s playing on his TV.

It all projects a picture of the world today, a city, and a few of the individuals in it. A world where everyone has their place. But a world that’s also divided. A world that might be crowded, but where people can be hidden, even when in plain sight, and very alone.

Hidden goes on to explore how light can come out of darkness, how people can and do come together, even in the bleakest of times.

The Act 1 action all takes place on and in front of two triangular prism-shaped frames by set designer Simon Dorman, initially covered with fabric onto which film is projected, with another layer of video on the back wall. The digitals, by Logela Multimedia duo Imanol Garaizabal and Karlos Gomez, are surely among their best yet.

The way the film is layered produces a rather striking three-dimensional effect, the live dancers and digital figures coming together impressively. Moved around by the performers, the possibilities for creating new shapes seem endless as the frames open and close, fold and unfold, hide and reveal to great effect.

When the cast appear to get off a tube train, it’s the cue for one of several terrific ensemble sections, all action-packed. Leaps, catches, rolls, other tumbles come thick and fast, in a way reflecting the rush of modern city life. There are some heart-in-mouth moments too, not least when De la Bastide falls from the top of a tower of three to be caught be the others. Everyone is fabulous but, effortless and fearless, she stood out in particular.

There are some great solo moments too, one from Sophie O’Leary stays in the memory; and a quite spellbinding, slower, thoughtful duet for Llewelyn Brown and Davies, who dance with a light tube.

Elsewhere, the use of boards gives a nod to the way modern life can bear down on oneself while the sight of De la Bastide and Pattison encased in plastic wrap (all fully biodegradable) emphasises how people can be trapped, There is a glimpse of light however as they fight to escape, the first to do so then helping the other to break free.

Act 2 has a very different feel. Gone are the moving frames, replaced by a single 5.6 metre-long, 45-degree grey ramp. Gone are the projections. Just how much both contributed previously becomes all too clear. The music is very different too. In Act 1, Tim Dickinson and Sophy Smith’s often gorgeous composition comes with echoes of Ezio Bosso and Max Richter. Now, it just felt relentless.

Early on, there is a duet and a powerful solo. There is certainly a sense of harmony. Support and coming together are everywhere. The dance, and especially the acrobatics are still impressive, but, on this occasion at least, it didn’t seem to flow as easily. I started to see set-ups that I hadn’t previously.

It just didn’t have the same impact, the same pull as the first half, which is a shame. It’s probably true that darkness and dystopia is a lot easier to convey than lightness and hope but I suspect the very long interval, scheduled for 30 minutes (long in any event) but extended to 45 didn’t help either. It all just felt a little disconnected. I’m not quite sure how you do it, but in some ways, a shame too that those opening characters, so powerfully pictured, are never returned to.

But don’t let that put you off. There is an awful lot in Hidden to like. Motionhouse are a unique company. Time and again the dancers will leave you breathless. The Warwick Arts Centre premiere audience lapped it up. Kevin Finnan and his fabulous performers have done it again.

Hidden by Motionhouse continues at Warwick Arts Centre to February 9, 2025, then embarks on a national and international tour.