The Place, London
October 1, 2024
Richard Chappell’s Hot House is flagged as having pulsing lights, flashing lights, loud noises, and heavy hazing, none of which it did! Yes, there were a few bangs and a light haze, but no more than that. Instead, what there was, was incredible dancing, the sheer fluidity of which almost defies description.
The five dancers, Juan Sanchez Plaza, Simone Donati, Faye Stoeser, Tia Hockey, and Maria King, melt one movement into another in a fusion of dance styles that runs from classical ballet to street and hip hop. Their technique across these different styles is outstanding. They were mesmerising to watch as they wove their way around the stage, and their interactions with each other also having a similar melting, lyrical quality as that of the solo dancing.
Chappell’s choreography is full, rounded and creative, and allows the dancers to perform with incredible fluidity. While the programme notes do give a story synopsis, it doesn’t really play out, however. As a result, Hot House misses much in the way of dramatic content to the point where it feels quite abstract. It becomes dance, albeit excellently performed dance, for the sake of dance, not that there is anything inherently wrong in that. But perhaps that’s one reason why it became increasingly difficult to engage with after the first twenty minutes or so.
The music doesn’t help. Again, it is wonderfully performed, this time by violinist Enyuan Khong, and it is tuneful, but it’s also quite repetitive. Some light and shade, change of style, or just change, would have been welcome. The lighting is effective, and even through the hazing, left the dancers always clearly visible.