Baro d’evel: Who Are We?
There are occasions in theatre when, despite the evident skills of the performers and the enthusiasm of the audience, a production simply fails to communicate
There are occasions in theatre when, despite the evident skills of the performers and the enthusiasm of the audience, a production simply fails to communicate
An exploration of the relationship between the individual and the collective… Each dancer remained distinct while being continuously reorganised within a larger, shifting whole.
Stephanie Lake’s Colossus comes to London’s Queen Elizabeth Hall at the end of the month. Zoë Hewitt talks to rehearsal director and original cast member Nicole Muscat, and learns how the London Contemporary Dance School’s graduating dancers are shaping the ever-changing work. Fifty dancers. No exits. Fifty-five minutes of breath, pressure, collision risk and collective … Read more
A high-energy fusion of hip-hop, breaking, street dance and live funk music… a lively, skilful and exhilarating evening.
The Ballet de Lorraine dancers were outstanding, performing with elan. They owned the stage, their ensemble work impressive.
Yes, the story is ridiculous… But you still leave the theatre humming those tunes and wanting to see it all over again. Top Hat. Top show.
The programme promises ‘dance theatre.’ What unfolds is closer to an ecological fever dream.
The whole work is a feast of mobile bodies, the inventive movement sometimes jagged and sharp, sometimes wonderfully fluid.
Sometimes the dance is very much at one with the music, not so much adding layers or illustrating it, but being pushed and pulled by it.
A collaborative exploration of fragmented narratives and contemporary desires, it unfolded as a deliberately fractured whole across multiple spaces
It may have been compulsive and memorable, but that that doesn’t go hand I hand with pleasant… certainly different, though.