Collaborating Artist Vivien Wood  Written by Anthony Nikolchev          

Music composed by Guillaumarc Froidevaux and Bradley Creswick  

Lighting Design by Nathan Reynard

Performed by: Guillaumarc Froidevaux, Gema Galiana, Zuzana Kakalíkova, Anthony Nikolchev

There are two types of people in relationships, those that hold their tongue and do not speak their minds, and those that do not hold back. This piece of physical theatre explores these two realities of expression and plays around with the question ‘what would happen if I reacted differently’?

As the four performers are introduced to the audience, it becomes clear that they are not playing two separate couples, but instead play the same couple but from different perspectives. Conversations are repeated and replayed by the performers allowing the scenarios to be reworked and relived. The locations for these exchanges are often mundane settings such as doing the laundry, or making breakfast. These commonplace scenes add a light, comic flavour as every person in the audience can relate to these unassuming battlegrounds. The females become more and more vocal and frustrated with each relived scene, and the males respond accordingly. The dispute that takes place over making coffee in the morning stands out, as the text (written by performer Anthony Nikolchev) and enactment build up so skillfully, it is almost funny from an audience member’s perspective, as you watch how easily misunderstandings and miscommunications can bubble up into an explosion, or thunderous silence.

Conversations are interrupted by moments of passion and love shown through well-executed contact work. Small intimate connections grow and build into complex lifts and exaggerated motifs. Considering that none of the performers are strictly from a dance background, these moments are performed smoothly and with ease. It is clear to see here, the influence from Vivien Wood, a dancer who has worked with Michael Clark and DV8, as she spent some with the company as rehearsal director.

Despite there being pockets of text and storyline that were unclear, the clever interplay between the performers was successful. I did however leave feeling slightly confused, as after an hour of this question being posed and explored by the performers, there was no resolution or conclusion offered.

                                                                                     Reviewd by Sara Daniels

                                           (Sara is a freelance dance teacher and lecturer in dance education)

If you have ever wondered how important technology has become to dance productions, then you should have been in the audience for Rasta Thomas’ production of Romeo and Juliet, at 7.30pm sharp. It was evident as soon as the production started there was a technical fault. The dancers bravely made it through the first two scenes before the performance was stopped and restarted 30 minutes later.

The difference between the two versions was incredible. Audible sounds from the audience were heard, as they actually understood the context of the dance actions. A particular moment that stood out, was Mercutio and Benvolio entering the stage dancing around with wooden sticks, first time around this was an odd image. As it turned out the projector was meant to display an image of a snooker table; the meaning was suddenly apparent, the props suddenly had a purpose.

As much as I am a huge fan of technology and welcome bringing dance into the modern world, it concerns me as to just how much of an impact it can make. Should the choreography have been able to stand alone? In my opinion, yes.

The choreography is actually created by Adrienne Canterna, not Rasta Thomas, she also plays Juliet in the production.  Her creation of Romeo and Juliet has a modern twist, in that she wants the audience to see the story from the eyes of the teenagers at the forefront of the narrative. She also brings new dance styles to the traditional Ballet as well as mixing the Prokofiev score with pop artists such as Lady Gaga, My Chemical Romance and Katy Perry. The result is an exciting and entertaining performance piece, but it lacks in choreographic flare and finesse. The dance styles are very generic with not much fusing of the different techniques; one moment you are watching Juliet en pointe delicately dancing with the Nurse, the next you suddenly feel like you are in a nightclub with loud music, flashing lights and rather raunchy dance actions. The transitions between these constant extremes are clumsy and they highlight the cliché choreography in each section.

The performance quality on the other hand is outstanding. Every one of the ten dancers are superb in their execution of all dance styles. An impressive feat. The dancer who play Tybalt (Ryan Carlson) is particularly impressive. Every scene he performs in is heightened by his electric performance and flawless execution. The fight scene between Tybalt and Romeo in Act two in which Tybalt ultimately dies is exceptionally good.

This is a fun and entertaining production and one that a group of teenagers would adore. For me there was too much of a disparity between the serious, emotional, evocative scenes, and the scenes that played for laughs from the audience. I have watched versions of Romeo and Juliet, (and West Side Story) that have had me sobbing watching the moment Mercutio dies. For me this is such a poignant moment, highlighting that 400 years after the words are written, similar scenes are visible in society today. Canterna instead chose to use this moment to look for laughs in the audience. But, if you are looking for a masterclass in dance technique and captivating performance, don’t miss it!

                                                                                                        Reviewd by Sara Daniels

                                           (Sara is a freelance dance teacher and lecturer in dance education)

Cirkopolis is an exhilarating and explosive brew of juggling, acrobatics, comedy, dance and music. It sweeps the audience off the mundane just like Ashley -the clown character in the show. It’s a solid one and a half hour of exuberant journey through a parallel colourful world.

The clown character Ashley played by Ashley Carr is not the conventional red nosed clown. He is a modern man in formal wear who tries to keep his fun life at the circus aside and get his mind to a heap of paperwork on his office desk in the opening scene. In a throwback to Chaplin’s modern times, colossal projections of giant machines convey an office worker’s reality where all happiness is sucked out of life. A satire on modern day living as frequently the scene around switch to towering images of bleak sky scrappers.

Ashley is saved from his monotonous drudgery of a life by his friends from the circus. They step in to remind Ashley of the life that he had once tasted. The fun, the colours, the applause. The plot hinges on the device of Ashley going on a flash back journey through which an inspiring re-invented circus show is presented.

The second act is serene in contrast to the opening scene. Lea Toran Jenner glides in her Cyr Wheel beautifully flowing in her red short dress. Nostalgia and yearning are churned around the space creating a whirlwind of memories for Ashley. Maria Combarros performs a breathtaking balancing act as she walks on the palms of a group of male dancers. Combarros can certainly trust on the fitness of the group of men to lend support when she is balancing on their palms, finishing on the highest point on a single palm being held up as a winning trophy.

The show builds up and by this point the audience is already high on adrenaline as Frederic Lemieux-Cormier and his mates come in on his German Wheel. This Act is a display of strength, control and focus. Strong and muscular male performers with Cormier in the lead hang, jump, attack, lean on and balance on this huge wheel setting the space in a dynamic motion. Through lighter scenes of comic relief Ashley inter weaves these acts. Jerome Sordillon’s aerial act on straps continue with the display of masculine physicality, balance and strength. A lighter air is brought in by the final act on Chinese pole bringing together great choreography with dance and acrobatics Three of the performers brilliantly use the pole while the ramaining performers cheer them in the choreography.

The final scene is a joyous dance where stacks of papers that were neatly piled up on the office desk are now thrown in the air and they rain upon Ashley as he celebrates his new found freedom with his friends and a bottle of Champagne.

Cirkopolis expertly juxtaposes contemporary circus against the grey melancholy of modern urban living. Directrs Dave St-Pierre and Jeannot Painchaud deftly combine circus acts with music, theatre and dance creating a hugely entertaining and uplifting experience.

                                                                                                          Reviewed by Protima Chatterjee

The Tango Fire Company of Buenos Aires is in London this time of the year with it’s Flames of Desire, setting the stage ablaze. Much in time in the run up to Valentine’s day, the show celebrates passion, desire, romance and sensuality with the essence of male female bonding at it’s core.

Tango in its modern incarnation, as we see today in the Strictly Come Dancing series, is much to do with quick steps in ladies stilettos and sparkling pointed male shoes. Tango fire picks up and builds on the modern vocabulary of the tango. Its dancers storm across the floor in vigorous taps with occasional low leg flicks which are perfectly timed, precise leg movements , placing their free foot between the partner’s legs in the form of ‘quick kicks’, twirling female dancers finishing in the arms of their male counterparts at the end of a routine, frozen to a sculpted perfection. All this and more set Tango Fire a brand apart from any other company.

The show is evenly distributed between slower and faster numbers. The more laidback and stretchy softer sequences danced to a soulful Piazzola pulls at heartstrings. An undercurrent of melancholy runs through these numbers, connecting desire with a pang of separation and unrequited love.  Along with the sensuous, a spiritual connection is established between the performers and the audience. The dance partners hold each other in close embraces like intertwined souls, occasionally caressing each other, hair brushing past the male partners’ faces. The ladies swing a free leg around their partners in sharp movements released swiftly, or gently stroking their partner’s leg before performing the mandatory pirouette into their partners arms.

The compositions are sophisticated, yet playful and flamboyant at times, showing much of Choreographer German Cornejo’s dexterity to play with the dance form. The five couples performing exhibit their finesse and mastery with the craft. Their effortless movements and intense attitude keep it oscillating between layers of erotic emotion. The performance has rhythm flowing not just through movement and music but also through live vocals and light design that focus much on the mood of the show. The lady dancers are dressed in sheer flowing costumes which add to their sensuous movements. The costumes in their mellowed shimmer with mostly body hugging fabric are exquisitely designed. They complement and reinforce the female shape.

As the title  “Flames of desire” indicates it’s a show about romantic love, about the sensuous as well spiritual connection between man and woman. The audience needn’t delve deep to unravel the untold as it is all on the top layer. Flames of desire give you an easy and enjoyable evening, to which you don’t return with expectations of something massively different each time. It is enjoying the same pleasurable flavour each time you see the show.

                                                                            Reviewed by Protima Chatterjee

Choreography: Shuangbai Feng

Direction: Wei Ding                

Composer: Gangbao Liu

Lyrics:Shuaiyuan Mei           

Scenery and Lighting Design: Yi Ju              

Costume:Qing Mai

To celebrate Chinese New Year, Sadlers Wells hosted Legend of the Sun a traditional Chinese folktale told through a large-scale dance/drama production, with over 50 performers.

The tale originates from the Zhuang nationality, in south-west China and it tells the story of the ancestors of Zhuang who lived in a place without the sun. Members of the community volunteer to go and search for it, but it is a pregnant woman, ‘Ma’ who sets about on this adventure. During this dangerous journey she gives birth to ‘Le’ her son. Ma unfortunately dies, as an old woman, before completing the mission, so it is down to her son to complete the task. The story contains love, drama and emotion, as any good folktale should. The production is a familiar style; meaning members of the audience less au fait with Chinese dance easily understood it. (As it turned out, on the night we were the minority.) There were flavours of Ballet, in the mime-esque narration of the story and characterisation, and musical theatre in it’s over dramatic, emotive, pull-on-heart-strings scenes.

Although the scale of the production is huge in terms of the number of performers, it is very cleverly scaled back in terms of set design and props. Throughout the performance, in place of elaborate pieces of staging, appear dancers’ bodies. They create mountain ranges, rivers and rocks. They not only help create the complete picture for the audience members, but the main characters walk, stumble and climb upon them as easily as if they are wooden pieces of set. This clever use of sharing and using body weight is also seen in some beautiful duet work. The main characters in the piece are very strong dancers and performers, each one earning their place as soloists.

I found the show to be charming and, in places, physically impressive. As I, personally, am not a lover of all things musical theatre, I did find some scenes to be rather over dramatic. I am a believer that dance itself can express every emotion without the need for intense facial expressions and overt miming, however, it was an enchanting introduction into the world of Chinese dance for me. I look forward to what the next one may bring!

                                                                                                            Reviewd by Sara Daniels

                                           (Sara is a freelance dance teacher and lecturer in dance education)

The concepts that Aakash Odedra tackle in Inked and Murmur are thought provoking areas of study. The first work in his double bill Inked (choreographed by Damien Jalet), explores body art, tattoos and scarification. It is clear how looking at marks of identity and encounters of the body would be interesting from a dancer’s perspective; someone who has a deep understanding and an intimate relationship with their own body. Unfortunately, during this twenty five minute piece there were few moments involved in this explorative process; The audience is left feeling abandoned on the outside of this dance piece desperately looking in.  

The piece starts with Odedra’s first appearance through an Odedra-shaped hole cut into the back screen. His background in Kathak dance is evident from the beginning as he rhythmically stamp into view. The lighting design, by Fabiana Piccioli, is both effective and impressive throughout the piece; adding both highlights and structure to the choreography that otherwise fall short of entice.  

The solo grows in terms of pace and dynamics-the more areas of Odedra’s body that are revealed with body art drawn upon them, the more agitated and extensive the actions become. The movement material itself however, is repetitive. We see arm ripples over and over, developing only to travel across the stage. This is also the case with circles being drawn on the floor at the end of the choreography, the only change being allowed by their shifting positions. Odedra finishes the piece centre stage having finally ceased drawing. This denouement prove pleasing for the audience as the imagery of circle drawing is by this point, exhausted.  

Murmur (choreographed by Odedra and Lewis Major), is a piece looking at the condition of dyslexia from which Odedra himself suffers. Again in this piece, the lighting design, by Andrew Ellis, is hugely impressive and is central to Murmur being such a successful performance. In this instance, however, the choreography is also of interest and appeal.  

The set design is relatively simple yet creative, with a circle of electric fans and hanging white material from the ceiling. A lit up version of Odedra is projected onto the white material performing exactly the same movements as Odedra himself behind. Another effect of note is when – what look like letters – tumble out of the book in Odedra’s hand and fly like a flock of birds around the stage, making them impossible to read.  

The sense of anguish and frustration that one can feel with dyslexia is effectively conveyed through the piece, particularly when Odedra speaks to the audience, telling his personal story, asking the audience “How long does it take to correct a mistake?” A poignant and personal fact is revealed through dance and stagecraft, when we learn that Odedra discovered at the age of twenty one that he had been spelling his name incorrectly; missing the extra “A”. Suffering is made obvious when pieces of paper drop from the ceiling and Odedra is desperately trying to collect these up, but the task is made futile by the circle of fans around him that swirl the papers into an disorderly frenzy. The dramatic climax is mesmerizing as the swirling paper, ‘flock of birds’, and extra petal-like shapes streaming from the book fall and tumble, swooping and spinning together into a hypnotic whirlwind.

Murmur sweeps the audience in its emotional content communicated through it’s gripping theatricality and stimulating movement material. A commendable piece that leaves you waiting to see more of Odedra’s work. Particularly pieces which would allow a greater scope for movement and technique, the skilled performer that he is with his strong background in South Asian classical and contemporary dance forms.

                                                                                                                                        Reviewd by Sara Daniels

                                                                        (Sara is a freelance dance teacher and lecturer in dance education)

It has been ten years since The Royal Danish Ballet’s last visit to Sadler’s Wells. They are certainly a very popular company to catch as evidenced by the the bouts of contented cheers from the audience, throughout their peformance. This time its a delightful mixed bill featuring twelve principal dancers and soloists from the Royal Danish Ballet performing excerpts from August Bournonville’s repertoire. Whilst disappointing that Alban Londorf (the Dane’s answer to Carlos Acosta) is replaced, the essence of Bournonville is none-the-less alive and dancing.

The programme open with the very energetic pas de sept from Folktale. The joyful energy throughout this dance resonates with the audience. It is here that Bournonville’s impressive male choreography is first seen: how they leap and jump across the stage, whilst the upper body remain ‘held’ and tight is extraordinary!

The pas de deux from The Flower Festival in Genzano is a calmer affair: sweet and playful. The two dancers demonstrate natural grace that contrast their quick footwork with ease.

The playful theme continue with the next work Jockey Dance. This highly comic dance is a crowd pleaser; the colourful characterisation from both dancers is kept even whilst taking their bows. It is impossible to watch without a huge grin on your face, possibly underscoring that Bournonville’s Jockey Dance is devised to depict something which is close to quintessential ‘Britishness’ (our love of horse riding) and thats what keeps you smiling.

La Sylphide provide a complete contrast to this happy work. This piece is notable as it does not conform to Bournonville’s usual formula of a happy ending. We are treated to Act Two, the dramatic finale that sees both Sylph and James die in this tragic love story.

The second half of the mixed bill contain the beautiful pas de trois from The Conservatory. This is, as a member of the audience seated next to me declare, ‘simply gorgeous’. The warm smiles from the dancers present the kindness that Bournonville wanted his dancers to exhibit; their eyesight is often lower than other Ballet styles as he did not want his dancers to appear proud. This pas de trois is the epitome of harmony and grace.

The finale of Napoli with its pas de six and tarantella is the perfect choice of a finishing number. The happy, celebratory dance; full of light and quick steps provide an opportunity for all dancers to showcase their skillset in a combination of small solos and duets, as well as high impact unison sections.

The Peacock Theatre with its smaller setting enables its audience to have an intimate experience with the performers. This compensates for the absence of live orchestra for the dancers to respond to.

The Royal Danish Ballet are certainly worth the wait!

                                                                                                                                            Reviewd by Sara Daniels

                                                                          (Sara is a freelance dance teacher and lecturer in dance education)

Arthur Pita’s stage adaptation of Hans Christian Andersen’s classic “ The Little Match Girl” is a touching journey of a poor and desolate little girl who starts cold and neglected but ends happy and sparkling.

The young dancer who plays the central character is a little gem of a performer. With effortless ease she is able to strike the right balance between innocence, vulnerability and above all humanity of a little girl against adversity. A match stick seller, she gets no sympathy-either from the street dwellers like herself or the more well heeled people enjoying the festivities behind well lit windows. People show no mercy instead she is pushed and shoved and bounced around by some. Some would cruelly destroy her sticks and her soft round face would turn red in concern. Others simply shut their doors on her. Hungry and cold the little girl watch their dark shadows cast on the shut windows, merry making in their warm lit up quarters. The fuming chimneys in contrast to the cold  snowing streets set an ironic juxtaposition -The little girl who is cold in her rags, is warmer than those indoors.  They are simply cold and unfeeling towards a little girl’s hopes and desires. This whole section is brilliantly depicted through eye catching choreography, stage set up, lights and costume.

The lit up town in the background, with a huge glistening moon in the middle of the dark winter sky, a street light standing in the corner and an occasional powdery snowfall give it that dreamy quality of a cold winter evening. The set perfectly complements the mood and the live music draws you in to feel the pangs for the little girl. Frank Moon’s music is in complete harmony to a children’s show. It has a soothing tinkle yet carries an undercurrent of melancholy to sync in with the theme.

The song sequences bring in the lighter comic moments. Pita skillfully weaves in bouts of laughter, to lend it a lighter atmosphere, which could otherwise be a little harsh for children to watch.

A complete reversal of mood sets in at this high point of suffering, when the little girl’s dead grandmother’s vision comes alive. She almost steps out of her grave stone where the little girl would light a match to keep herself warm and talk to her grandmother’s vision.  They wrap around each other warm and the girl is eventually relieved from her impoverished state. She is taken on that one very special magical journey to the moon. A glistening ladder leads the way.

The show ends with a warm and bright finale- sufferings driven away, twinkling stars are lit  up by the little girl’s magical match stick. A shimmering and dazzling night sky closes the show and happy faces leave the house, all geared up for a jingling Christmas ahead.

                                                                                                                                                   Protima Chatterjee

This mixed bill is a part of Sadler’s Wells =dance; a year-long programme showcasing collaborative work of disabled and non-disabled artists. This concept alone is worth supporting, quite apart from the diverse and quality dance you will discover. Two artists being championed in “Statement Pieces’ are Marc Brew and Laura Dajao.  

Nocturne by Marc Brew and his company, is an exploration of people and relationships, a concept that anyone, able-bodied or otherwise, can relate to. An inclusive dance piece, an intimate and intricate duet performed by two couples using two double beds as props. While one couple tumble and fly on top, across and over the beds and each other displaying energy and athleticism, the other beautifully contrast with the gesticulating, gentle, touching sequence performed by Brew and his partner Rebecca Evans. It almost feels as if the audience are trespassing on a private moment. It is not surprising that this piece, first created in 2008, is still being re-worked and performed; it is a thrilling piece of physicality. 

Laura Dajao is no doubt a talent. Her piece Missing showcases skills of singing, piano playing and dancing. Through this personal rendition, Dajao tells her story; created after an operation that resulted in her loosing a limb. She starts with the song “Finding my Strength” along with co singer Jazz Bailey. This develops into movement, a vocabulary created by fusing hip hop and contemporary dance, also incorporating sign language to give it that special touch. Dajao has touched on interesting collaborative ideas within this piece, further exploration and development of which could lead to an entire production with strong impact.

The concluding piece For Now I Am brings Brew back on stage: solo. An intriguing start with strong visual impact from the set design; what looks like a giant shower curtain covers the stage revealing Brew lying beneath. The water theme continues through the soundscape of waves, rain and dripping water.  This, along with the fetal positions shaped by Brew using the huge piece of material, emphasise the theme of rebirth and healing, communicating Brew’s personal journey. Being entirely floor based, the action content is restricted, yet powerful. The small repetitive actions, depicting breaking, reforming and replacing are at times almost painful to watch, a difficulty not helped by the high pitched string instrument that ring in your ears -The performance in its entirety depicts the frustrations experienced through the process of rediscovery, as Brew accepts his ‘new’ body post accident. The final position; Brew elevated from the stage floor by his feet, an image that imprints on the audience and encapsulates the strength and the struggle of Brew’s return to movement.

                                                                                                               Reviewd by Sara Daniels

                                              (Sara is a freelance dance teacher and lecturer in dance education)

Seeta Patel’s ‘Something Then Something Now’ is a narrative of love and emotion, presented in the classical Bharatnatyam style.

Based on the age old lore of Krishna and his beloved the first half is a dazzling solo piece. Patel’s physical language lucidly personifies the inner feelings of desire, love, longing and devotion of the nayika (the heroine). In her sensuous postures in the course of the dance piece Patel resembles the sculptures in the Chola temples. She times the piece wonderfully between dance movements and abhinaya (facial expressions), the latter being more prominent of the two. Patel’s expressive eyes precisely reveal the rasa (emotional theme) that she is performing. It varies from fluttering eyelashes  displaying the nayika’s coyness, to curved eyebrows showing her restlessness and from a subdued smile to a flirtatious one intended for her lover. Abhinaya also extends to her sitting down as if lost in thought. She imagines him while looking at a peacock feather, or hears his flute in her mind and looks around hopeful to catch a glimpse of Krishna. A myriad of emotions convey her love and devotion. It is an authentic piece of Bharatnatyam danced with exquisite clarity and divine spirituality.

The second half of the evening orbits around the similar theme of love, and its associating emotions presented by accomplished Carnatic vocalist, Pushkala Gopal and an accompanying orchestra. Gopal plays her ‘tanpura’ (string instrument) and sings at the same time as expressing the words through abhinaya. Her deep voice is her asset which paired with her effortless and expressive story telling is captivating. Five  exquisite extracts taken from old South Indian literature written mostly by male poets about women, unfold this half of the show. The evening draws to a close with the soul stirring Indian chant to the divine force. ‘Om Sarva Mangala Mangalye’

It’s a beautifully crafted presentation, at the heart of which is a thoughtful interpretation of an ancient Indian tradition.

                                                                                                                            Protima Chatterjee