What made you choose Dance Umbrella after Sadler’s Wells?

After working in venues for many years I was excited about the thought of programming work outside of a venue. It means I can look at the work first, and then find the best place for it, which is a nice way to work. It also felt a good time to run my own show, so to speak.

What is your fondest memory from your tenure at Sadler’s Wells?

The people. Both on and off stage. Its just a great place to work, with a lot of energy, and ideas, with everyone working at full tilt. The Artistic Director Alistair Spalding has an open door policy – literally – which creates a confidence in the staff and with all the artists he works with.

You have danced for 20 years before producing, did you at any point think of continuing as a choreographer?

Being a dancer is very different from choreographing, even when you are working closely with a choreographer to generate material, so I can say quite clearly I have never seen myself as a choreographer.  I just don’t have that kind of brain. The choreographers I know wake up with dances in their heads that they want to make. I wake up having dreamt of running about with no clothes on unable to find the audience, the stage, the technical team…    Creative, I hope so, yes, like anyone who tries to do their job well, but that’s a slightly different thing.

Tell us about your association with Mathew Bourne and Adventures In Motion Pictures.

We met at college and set up Adventures in Motion Pictures with David Massingham (currently Director of DanceXchange in Birmingham) after we left. I ran it with him for three years, when we were a repertory company. When I look back I realise I was programming and producing then just as I am now, while he was choreographing his way to fame and glory.  We keep in touch. I think what he has achieved is utterly extraordinary.

Dance Umbrella 2014 is your first festival after taking up your position as Artistic Director and Chief Executive. What is the one unique Emma Gladstone touch to the festival this year?

Mmn.  That’s hard.  Feel  there is a lot that I could mention because programming is such a personal thing to do, and anyone new in a job will bring something different. But if you pushed me I would name an alternative way of looking at the body in motion, as flamenco, hip hop, and ice skating are all in the festival for the first time. These shows are running alongside choreography you might more normally define as contemporary, and I am excited to see what audiences make of them. They are all exploring new ways of creating meaning through movement.

When choosing the line- up for the festival what did you look out for?

So often I am guided simply by the people involved. There is always something about them or their work that speaks to me, that helps us look at the world from another angle, and intensifies life. Having said that there are a key set of criteria that guide me artistically, and then there are pratical things such as getting out and about around the city, having a good range of styles, and making sure there is work for a range of people. I love programming work for children. They are such great audiences.

Would you consider in future to partner with a non-arts organisation, say a corporate house and open up to non- professional dancers who have the creative talent and are willing?

Pretty much all we do is about partnerships in some way, so yes is the answer to the first question. This year we are going to 14 venues in 11 boroughs, and we could not do that without strong partnerships with people.  And yes again to working with non-professionals.  Without a doubt. Dance Umbrella has done this quite a bit in the past, with choreographers including Rosemary Lee and Lea Anderson among others, and we have plans to do the same in future.

Do you see Dance Umbrella, the October festival spreading across the globe, hosted by different countries under the same banner?

Always up for a bit of global domination.  Dance Umbrella Moving London / Moving Rio / Moving Delhi / Moving Tokyo…. let go…

How would you like to see contemporary 21st century dance evolve?

Cross right over onto theatre stages. Think there are many folk who would go to see a theatre show but never think of going to see a dance show. I want to see if we can shift that thinking through the strength of the work we present.

What is Dance Umbrella’s next big project?

A big music and dance night we are cooking up.  Watch this space.

                                                                                                        Protima Chatterjee

Wild Card, a Sadler’s Wells initiative which opens up the theatre’s Lilian Baylis Studio to the next generation of choreographers and dance makers, returns for its fourth season this autumn, presenting UK born and raised dance artist Seeta Patel.

Patel has been championing the Indian classical dance Bharatanatyam for many years, at the same time as forging a distinctive career in contemporary dance under the guidance of Mavin Khoo. She has performed with companies such as DV8 Physical Theatre and presented work at Southbank Centre.

How did you take up dancing?

I started dance at the age of 10 in Bristol at a local Saturday school. It started as a hobby, then I got a lot more serious after a couple of years and started doing private classes.

What is ‘Something then Something now’, about?

Something Then, Something Now is an evening of classical Bharatanatyam with Carnatic music that I have curated as part of the Wild Card platform at Sadler’s Wells. I chose to present a new solo work which I hope to tour as part of a larger evening next year, followed by a rare chance to see the seasoned artist, Pushkala Gopal, perform the expressional aspect of Bharatanaytam (abhinaya).  Live music by a very talented orchestra will underpin the evening and it will be concluded by a post show talk with my teacher and mentor, Mavin Khoo. Mavin is one of the most accomplished artists in the field of Bharatanatyam with a deep understanding of its roots, and the context in which the art form functions in modern times. I have called it Something Then, Something Now because I would like to highlight both the deep rooted legacy from which the art form began, to its ever evolving presentation and relevance in current times. The evening is focused on the beauty of classical dance and music.

As a practitioner of Bharatnatyam- the oldest classical Indian dance form, how do you relate to contemporary dance forms?

Whether classical or contemporary, I value and appreciate good quality work, both in thought and execution.  I value the rigour of classical training and appreciate a similar rigour and attention to detail in contemporary dance, and all other art forms. For me Bharatanaytam is an incredibly moving experience that makes time stand still for a brief moment. Any other very good art-work regardless of genre or form, is a similar experience. I don’t like to be limited to the dance form I have trained in, but very much enjoy being inspired by quality in whatever form that takes, including contemporary dance. I have been a part of the world of contemporary dance for some time and have worked with some brilliant choreographers. Each process has been different and I have learnt a lot. All aspects of my learning in some way compliment and enhance my classical work in deep ways (even if that is not always an aesthetic outcome). Bharatanatyam as we see today has also undergone a great renaissance and it is very different to early versions. I find it a bit misleading to define it as the oldest Indian dance form. I think it is better defined as a classical dance form and relate to it through a less exotic idea.

Your film ‘The Art Of Defining me’  has been screened at the BFI, Southbank last year as part of the 16th London Asian Film Festival. What drove you to make the film?

After my time working with DV8 physical theatre I wanted to explore my newly learnt skills in a new project of my own making. I also wanted to try a new medium and experiment with the impact of film on the choreographic process. Film is an interesting medium and creating within it was a real eye opener in terms of process. The idea came about from several experiences about how identity has become a commodity in our field, and I was interested in working with this subject in a humourous way. Film being a transportable medium, it has allowed me to reach out to a wider audience.

You were rewarded with the Lisa Ullman Scholarship to study in India in 2005 and again in 2013 at the Film Academy in New York.  How did you change and grow as an artist between these two milestones?

I have grown in so many ways. But fundamentally I think I have become a much more thoughtful artist and much more interested in quality and integrity than pandering to the ever-changing trends in the field. The first time I went to India I had not been a professional dancer for very long. I was nervous and excited and open to whatever was there for me. It was a very grounding time. Since then I worked with a lot more people and created several of my own projects. By 2013, I was a much more experienced artist but also hungry to be able to train again. My approach to New York was a lot different to India even though I was still very open to learning whatever I could.  I went into the film training with much more of an understanding of who I was as an artist, my interests, my strengths and weaknesses. Both experiences lead to renewed and fresh energy in my work on my return to the UK.

You have been selected as one of the very talented 20 dance artistes for the Dane UK mentoring scheme 2014-2015. Congratulations Seeta! How would you like to see your career develop at the end of the term?

Thank you! I think the development will be much more on a personal level in terms of my confidence to be able to communicate the things I feel strongly and passionately about within my field.

Career developments tend to happen very organically for me when the time is right and I like to have faith that there will be a forward motion on that front. I have no specific agenda about where I hope to reach after the mentoring, but more of a hope that I can become clearer and more understood in my vision.

Apart from dance and film making, you are attracted to what other art forms?

I very much enjoy theatre and reading.

Which is your next favourite dance form after Bharatnatyam?

Argentine tango (which I have been doing for over 7 years now as a hobby). It feels like the most natural of dance forms to me.  Like breathing.

Who has been your greatest inspiration as a dancer and as a film maker?

My greatest inspiration as a dancer has definitely been my teacher Mavin Khoo, and I feel very grateful that our paths crossed and that I have been able to learn from him for so many years.  I continue to be thrilled by his artistry. In terms of film I think I need to see much more but I enjoy the work of many people and love seeing unknown talent flourish.

Whats your next big aspiration?

I’m not sure yet but watch this space…things just seem to come about when I least expect them.

                                                                                                                                Protima Chatterjee

After the disappointment on the football ground Brasil Brasileiro reminds you of the soul of Brazil- the soul, which was sorely missing with the “Selecao” at the 2014 World Cup. It offers a dazzling journey into the heart of Samba, not just as hip swaying dance and music, but also into a way of feeling, thinking and living, as the Brazilians describe it. Brazil’s rich cultural tradition and centuries of history is told through  an electrifying show of dance and music that blends rustic traditions with fervent passion.

The show starts with dancers hunched down on the floor, in a circle, as is popularly danced in the ‘Batuque’ with the two principal male and female vocalists picking up their notes. This sombre rendition leads the way to an inward journey deeper into the heart of Brazilian culture- a melting pot of African, European and aboriginal Indian influences. The dancers create a natural rhythm by beating on the floor. The choreography is suggestive of a tribal clan rejoicing on a festive occasion. The dancing, singing, clapping and the making of vocal sounds have a raw intensity of energy that is devoid of sophistication but is powerful and soul stirring. It flows into a dance of love and celebration projecting their ineffable feeling of affection through movement and music. The opening piece embraces the unique and varied heritage and culture, rhythm and passion, rites and rituals of the nation and its people.

After such an engaging start the energy doesn’t slack at any point. It is on an upward graph, with a constant ebb and flow in the pattern of the show. The high energy group dances are interspersed with softer couple dance, just a soothing vocal or a flashier dance number with a few couples. The female dancers swirl into the arms of their partners before being thrown up in air and caught a couple of metres above the ground.

The three specialised ‘Capoeira’ dancers display the fittest physique and blasting energy. Their jaw dropping feats of swirls, tumbles, spins and cartwheels leave the audience mesmerised. The ‘Step dance’ number is marked by the grace and precision of the dancers which is a hallmark of Brasil Brasileiro. A special mention must be made for the vocalists, the soloists as well as the chorus. Their soulful voice evoke passion and romance.

What’s unique about this show is its seamless flow between song and dance sequences. The dancers are all round performers- they not only make music with vocal sounds, claps and thumps in between dances but also perform the ‘Batucada’ in the closing piece and play complex rhythms on percussive instruments. The show draws to a close with this rousing performance which casts a trance on the audience. Brasil Brasileiro is a class apart. It’s totally enthralling and reminds us of the zest and beauty of the Brazilian spirit!

                                                                                                                  Protima Chatterjee

What drove you to make “Normal Love”?

I long for love, and I always try to express my desire for love through art. But what is love? Love is the very basic need for all human kind. Yet, strangely we see this as a unique gift.

Theatre as a medium is new for me. I have used this newly-learned language, as well as my life experience to express my understanding of Love.

What inspires you about Francis Bacon’s paintings?

It’s the violence that evokes an uncomfortable feeling caused by his brushwork: the dark marks and distorted shapes of human bodies that constantly appear on his canvas. His paintings project the dark human inner side.

Life in reality is violent. Francis Bacon’s works are based on reality but demonstrate something beyond reality. My process of creating this work is to analyse the details in Bacon’s works, and expand them via theatrical form. The strong contrast of colours in his paintings, and specific composition of the figures and objects exhibit the extreme loneliness of the artist. In my work, I try to re-interpret the emotional tone in Bacon’s work, giving it a different shape and colour.

Tell us a bit more about your creative process of making “Normal Love”

The process of creating is far more important than the result. I see the actors as individuals, and I don’t want to put any label on anyone. Normal Love, upholds human relationships without referring to any specific gender, society, nationality, etc. During the rehearsals the cast went through a process of finding themselves.

Team work, with lots of surprises, challenges and passion have been the building blocks. I love collision of thoughts in the rehearsal room. The scenography in Normal Love is very abstract, inspired by the compositions in Bacon’s paintings rather than the psychological or emotional elements.

In the production you have used Lecoq trained artists. Lecoq as a technique encourages artists individuality. How involved were they in the making of your show?

We have 2 Lecoq trained actors in the cast, and 1 professional contemporary dancer. I found physical training is essential for performers as it brings a strong awareness of the body, allowing them to explore and go beyond their limits.

Before the rehearsal, I had a series of workshops with my cast. I asked them to explore the space and body using very ordinary material, like food, colour, texture, etc. Their sensitivity to these stimuli led to create work and was a great help for me as a new director.

Team Normal Love has award winning names like Wang Jing (set design) and fashion designer Ton Zhao (costumes). Is this a new collaboration or have you worked together in the past.

This is the first time. Wang Jing is well-established in China. She has been working on a lot of opera and musical productions and with big names like David Freeman and Suzuki. I was nervous at the beginning. But later on I found her absolutely lovely to work with. I am using a fashion designer this time, because I want the costumes to be much more experimental and have strong visual effect. Both designers have taught me a lot of things throughout the process. And I really appreciate their input and patience.

The name Zi Ling is associated with visual art, theatre director and painting. Which do you think you are first or which one of these do you enjoy being most, visual artist, theatre director or painter.

I am a very visual person, and I love to try out different formats to present my vision. However, different fields imply different skills and disciplines. So I am still learning my way in the world of Theatre. In future, I would like to create more cross-disciplinary works to combine theatre and visual arts together.

                                                                                                Protima Chatterjee

IF: Milton Keynes International Festival returns for its third edition from 18 to 27 July. The Festival will take place in locations across Central Milton Keynes exploring the cityscape and parklands, the built environment and the great outdoors.

From large-scale spectaculars to intimate experiences,international performance and dance, contemporary circus, installations, live music, comedy, cabaret, talks and many free events. IF: Family Focus, a special programme of family-friendly shows and experiences for children and grown-ups.

Produced by The Stables, developed with support of Arts Council England and Milton Keynes Council.

What’s the inspiration behind the Milton Keynes International Festival?

Milton Keynes is one of the fastest growing cities in Europe. There is an acknowledgment in the city that investment in cultural infrastructure and not just physical infrastructure is vital to ensure Milton Keynes grows as a vibrant and exciting place to live, work and visit.

Milton Keynes has always had a great community spirit. There are lots of local artists working on a range of projects, though IF provides a showcase for extraordinary artists working nationally and internationally that can help to drive inspiration and ambition.  By asking artists and companies to work in unusual spaces, it also shines a spotlight on the lesser known and often really special places in Milton Keynes, as well as breaking down traditional barriers between audiences and artists.

What is the key focus of the festival?

The Stables is one of the UK’s leading music organisations and we set out to engage people with music and sound in all its diversity. By commissioning work with a live music element or a soundscape that is integral to a piece of dance, visual art or even contemporary circus, the Festival gives us the opportunity to reach and engage with audiences in new ways.

While choosing the line up does the festival also look at providing a platform to upcoming talents besides presenting established artistes?

We absolutely do try and look to the next generation of artists when putting the programme mix together, looking for quality and ambition, and for artists who can benefit from working alongside established artists. We also try and work with and mentor producers at various stages to help support their development.

Is there a possibility that in future The Stables could tie up with other music organisations outside Milton Keynes to extend the limits of the festival?

Of course. We are always open to partnerships and we have successfully teamed up with organisations such as the National Theatre and The Southbank Centre in previous editions.  We are also part of a commissioning consortium of other Festivals called Small Wonders which specifically supports the development of new outdoor touring work aimed at the under 5s.

What are the highlights of this year’s festival?

Always a difficult question as it’s a matter of perspective. Our new commissions are always exciting ventures and this year Under The Vaulted Sky is the result of 2 years work by our Artist-in-Residence, choreographer Rosemary Lee. It features live music by composer Terry Mann and 100 dancers in a new promenade performance for the Cathedral of Trees.  The Cathedral of Tress was planted over 30 years ago and modeled on the architectural footprint of Norwich Cathedral with different species of trees and plants to represent different elements of the building.

We are also pleased to have the Brisbane-based contemporary circus company Casus presenting the brilliant Knee Deep as the anchor show in the beautiful Belgian Spiegeltent  over the first 4 days. It’s an exquisitely beautiful show with breathtaking skill and really traverses the ground between circus and contemporary dance. And of course the opening spectacular Fous de Bassin (Water Fools) by the French company Ilotopie is promising to transform Willen Lake with fire, pyrotechnics and floating cars so it’s proving a hot ticket already!

What are your expectations with regards to community involvement?

I think our goal with community involvement is to try and make the interaction between our artists and audiences meaningful. Whether you are a participant in a project, an audience member or a passer-by who happens across something, we want it to be a memorable experience.  Around 50% of our programme is free to attend and in addition some projects involve more direct engagement with the community over longer-periods than others.

For example, Under The Vaulted Sky has required significant rehearsal commitment from community participants working with trained professionals over a number of months. However, even the more fleeting moments should still be special and make a difference.  Kaffe Matthews’ sound installation The lock shift songs – a new commission – saw her walk from London to Milton Keynes along the Grand Union Canal, recording sounds from above and below the water. She also drew together a small pop-up choir of interested singers who came together for just a couple of rehearsals to record work that will be woven into the sound track hear in the installation. The resulting composition will be played in ‘sonic beds’ which audiences will lie in to not just listen to but experience the physicality of the sound through their whole bodies. Kaffe’s interaction with the choir was important at the rehearsals and her description of her journey and her vision vital in helping to inspire the participants.

Special features that according you would attract audience?  

Hopefully there is something in the diversity of the programme that everyone can relate to and enjoy, and we have a special focus on work for children and families this year.

Surprisingly though, it can be the most contemporary and experimental work that attracts audiences and I expect that Kaffe’s sonic beds in an empty retail unit along with the colourful luminarium by Architects of Air – both presented inside centre:mk – will be hugely popular with audiences.

Your message or an invitation to the community on behalf of The Stables and the festival.

If you fancy a day out with a difference, give IF a go… we guarantee you will find something that surprises and inspires you.

                                                                                                        Protima Chatterjee

Bruno Beltrao’s CRACKz is an out and out contemporary work. A bridge between conventional stage presentation and modern day digital technology that is fast engulfing human life. Beltrao allows his dancers to capture images from the web space and transpose the memory through the physical medium of their body and movement.13 dancers randomly pick 28 video clips. They study them over a year and copy them to produce what we see on stage as CRACKz. A stunning idea that breaks the bounds of a conventional performance or any set pattern. Beltrao’s concept of the production comes to life through a series of movements, danced and re danced- an allegory for the relentless monotony of contemporary technological life!

The stage opens wide with side wings removed to create the illusion of massive ‘space’ personifying the web with its terrabytes of data.. and producing more.. and more!! This space is not attractive and lacks aesthetics. It is presented as a grey vista wrapped in a play of light and shadow. Shades of mustard and orange, a light bulb illuminating and then dim, dimmer to dark. Thats exactly the feel on stage, but magnified. This alternates with a stunning play of shadow in which the dancers are dark cut outs against a misty grey. Though Beltrao’s style is hip hop, for CRACKz he has used the medium of contemporary technique. The base is a thin layer of hip hop, but completely devoid of the feel good celebratory party mood of its conventional presentations. The choreography is intense with mostly powerful spins, turns, breaks and jerks. Movements more towards gravity have been predominantly used. All 13 dancers take the stage to storm with their physicality and precision through brilliant sets of choreographic moments. Light design and background score in the show set the mood just right. Besides direction and choreography, Beltrao also has a hand in the lighting design with Tiedo Wilschut. A uniquely talented artist that Beltrao is, has created a unique and intense presentation in CRACKz, swirling the audience into ‘space’, after a mesmerising journey through a dark tunnel.

                                                                                                Protima Chatterjee

Havana Rakatan is one of those pulsating high voltage Cuban dance shows that showcases the unique dance and music history of the island nation. The show charts a 500 year long journey starting with the Spanish arrival on the island, that sparks the evolution to the most recognisable and popular Cuban dance forms of today –the Salsa, Mambo and the Cha Cha Cha. It is hip swaying, passionate, electrifying dancing with the most brilliant display of Afro dance techniques. Dance is integral to ordinary Cuban life, as the Cuban people’s love of anything musical make even simple movements dancelike.

The essence of the show is its people. From the time of slavery and sugar plantations when dance and music were the only means to keep them going through a life of hardship and poverty, to a gradual intermingling of forms.The fusion is beautifully presented through a simultaneous rendition of Yoruba dance with Flamenco rendition. While Yoruba represents raw animal energy of the slaves, the Flamenco represents the interference of the colonists.

Zapateo, Zumba Antonio, Caringa and Changui are used by dancers to improvise scenes of rural folk culture. Director and Choreographer Nilda Guerra brings the characters to life on stage through her remarkable choreography. The cast excel in spontaneity and perfection. These are some of the most joyous and lively scenes on stage that would transport you to Havana, on the sunny beaches by the vast ocean.

Dance and music of the production perfectly complement each other. The accompaniment by a very talented ensemble of live musicians and singers take the show to a higher plane. Both the male (Michael Pacheco) and female (Geidy Chapman) vocalists are mind blowing in their high octaves. Sections where the creole folklore comes to life through their songs transport you to the early 20th century.

The second segment of the show starts off with the shoulder shaking Mambo- a dance form which had its golden age in the 1940s when Havana gains its popularity for its nightlife and club culture. This is followed by Bolero which is more lyrical and soothing in contrast. The beautiful sequence flows with elegance with an undercurrent of strong passion. Dance numbers based on Cha Cha, Rumba and Salsa wrap up Havana Rakatan deeply rooted in the Afro Carribean culture. They are sensuous, dynamic, bold and challenging bringing the audience to its feet.

The presentation is packaged for family entertainment with a happy young bunch dancing to the closing number alongside its usual adult crowd.

Object of my Affection, a compilation of three dance pieces Seated, A Une Passante and Into Decay, brings together the work of three fresh choreographic talents David Murley, Anthony Kurt-Gabel and Richard Chappell resectively. Presented by MurleyDance, Object of my Affection introduces the generation next of dancers and choreographers through their  first line of work in their career.

The evening revolves around affection. Affection for an object, as in the section Seated or with a stranger who we might never meet, lyrically presented in the second piece A Une Passante (To a woman passing by), or our attachment with our very own gadgets in today’s gizmo world as shown in Into Decay. With a simplistic approach the choreographers establish the essence of the theme. It examines those situations, interactions and emotions of life that have been presented over the years through different creative mediums. The work constantly show us what we are rather than probing into the depths of the unknown, keeping the content light and realistic.

Seated is presented through 5 pieces exploring human connection with an object of daily use, a piece of furniture, a chair. An interpretation of behavioral changes through the generations morphed from power to possession. From the 19th century throne exuding power to today’s self assemble flat pack furniture. The interim sections are snapshots of youngsters fighting over the chair in front of the television and a bar stool where a couple might have their first drink together and fall in love. The depiction is primitive with dancers yet to hit the target.

A Une Passante is inspired by Charles Baudelaire’s synonymous poem. The unfulfilled desire and the yearning of the travellers who see each other from afar but never meet is portrayed through a dream couple. Kurt-Gabel establishes the romantic desire through an explicit array of romantic movements of the dream couple at the expense of keeping the man traveller almost immobile through out the choreography. Contrasts can work wonders but more thought could go into establishing all four dancers on stage.

The concluding piece Into Decay kicks off with dance and slide projections showing a toy bunny, speakers, a power extension cord and then the bare window sill on which these items were kept. The question is if we had to put one of these items back on, which would it be. Our favourite toy bunny thats been with us through the years or our sound systems that we think we cannot exist without? The dancers are agile and sharp, a piece full of energy from Chappell. What could be improved on this otherwise captivating dance piece is the accompanying soundtrack. A combination of  classical piano and original electronic – the abrupt transition between sections is a bit jarring.

Overall its a competent performance considering the young new choreographic talent. The show being perhaps too much theme oriented stops short of being thought provoking. It showcases predicaments from our contemporary lives rather than raising new questions.

                                                                                             Protima Chatterjee

James Thierree  and  his  Compagnie du Hanneton returns to London after four years with the UK premiere of his production-Tabac Rouge. Thierree is also the performing central character in this dance theatre piece, besides being the director and choreographer. A multi- talented artiste, Thierree has his roots in the circus. He earned his spurs through his close association with big names like Peter Greenaway, Robert Wilson and Tony Gatlif to name a few. He made his mark  as a director with his award winning production La Symphonie du Hanneton in 1998. It was a large scale theatrical production that combined mime, circus and dance.Tabac Rouge is a spectacle Thierree style, where he expertly mixes different art forms.

Tabac Rouge has an epic stage design with a huge frame of scaffolding on wheels with sheets of rusty mirror where one can see convoluted reflections.The stage wings have been removed to provide a bigger canvas to his dancers. They speed across the stage sometimes lying on their chest on skateboards, or sitting on wheeled chairs. A brilliant  use of space is an essential element of the choreography. Stacks of books and papers pile up on a massive work table which is also on wheels. It is often moved from one end to the other by a dancer who probably hooks herself on the footboard. Period Furniture are wheeled in on the stage. Sometimes removed to create space for some wriggling, muscle twisting, joint breaking dance moves by a group of female dancers who perhaps personify the emotions of Thierree who plays the central character.

In Tabac Rouge Thierree is a haunted man living in the midst of crumbling ruins, constantly visited by memories of his past grandeur. It’s almost a throwback to his Grandfather’s (Charlie Chaplin) memorable rendition of Calvero in Limelight, only much darker and troubled. Tabac Rouge creates a setting of a rundown space which was once vibrant. It has seen many springs but is now covered in the dark winter slumber. Its a ghost of its past glory. Dark shadows occupy the space which was once lit up. Mirrors that would sparkle is now a reflection of doom. Power crippled, pillars crumpled, its people and furniture both covered in a sheet of dust are nothing but junk.

For most of his choreography Thierree is motionless, seated on a huge dusty lounge chair which is as rundown and torn apart as him, contemplating his utter desolation. His expressive eyes and facial muscles convey an array of emotions. A deep sense of melancholy to resentment.The constant visitations by his dancers, the movement of the props, and the mechanism of the backdrop scaffolding is a metaphor of his cluttered mind unable to accept his grim reality, still rooted in past glory. It’s his invisible grip that makes everything on stage swirl, move, dance and sometimes agitate. As if to further drive home the abject despair of his character, his movements are extremely limited like that of a disabled person. He has restricted mobility in his arms and legs, with limbs sometimes hanging loose from joints. Thierree exhibits uncanny control over his muscles and his facial expressions speak more than actual speech.

Though Thierre’s performance is riveting the script lacks cohesion .This could be his intention to leave the audience a little bit confused. What does this mental turmoil lead to? Thierre leaves that unanswered! May be in this age of perishable consumption, all artists should be prepared for solitary reflection among the fading ruins of their forgotten creations.

                                                                                                                            Protima Chatterjee

The annual flamenco festival is back this year with all its grandeur. After a magnificent celebration of a triumphant decade in 2013, the festival steps into its 11th year this March. Sara Baras, perhaps the biggest Flamenco superstar from Spain is a befitting choice for the opening. La Pepa is choreographed by Sara Baras and  her equally talented dancer-choreographer husband Jose Serrano.

The production is a celebration of the historical moment of La Pepa which was The nickname given to the first Spanish constitution of Cadiz. Cadiz born Baras celebrates that unique moment of the country and its women through her production.

Baras is an exquisite performer, whose footwork is comparable to the sound of raining hail. But what she tries to portray from that strong beginning through to the end dwindles with the loosely bound plot.

Through the 90 min duration of her show, Baras takes the audience on a journey of Flamenco  which has technique and texture but less drama. Its an exhibition of Baras’s perfection of the art, beautiful dance sequences and eye catching costumes. Loosely woven through snapshots of the nuances of human life La Pepa begins with a battle sequence where men and women all dressed in black are engaged in a duel. Neat choreography and precision of movements in this opening section defines what is to follow. The battle ends with death and destruction. Bodies lie scattered on stage.  – Baras’s makes her first appearance of the evening at this stage  She laments the death and destruction and questions the cause. She dances her grief and with her tears life spring back in the corpses who rise again into a better world. The village folks are joyous and they portray an enchanting Spanish village scene. The numbers that ensue bring in the fans, the long flamenco skirts, the laced scarves and couple dances. All the essential ingredients of a good Flamenco performance are lined up in the choreography. While the choreography and the dancing by the ensemble is top notch, somehow the narrative fails to evoke the same sense of excitement.

                                                                                                                                                    Protima Chatterjee