Tanguera, a musical based on the Tango, playing in Sadler Wells from 19^th July to 6^th August, unfolds its magic on the audience so organically that the viewer does not anticipate being completely swept away until it is too late. The show depicts the life of young Giselle, played by Melody Celatti, caught in a love triangle between the wealthy villain Gaudencio (Dabel Zanabria), and the local laborer Lorenzo (Esteban Domenichini), as she tries to make a new life for herself as an immigrant in La Boca, the port area of Buenos Aires.

The show boasts an old world charm, with the nuanced sets, precise light direction, and elaborate costume contributing wholly to the vintage texture of each scene. Scenes like the mirrored green room and the lovers dancing on the street while others make love through dimly lit windows in flats showcases the exquisite elegance that happens when the direction of Omar Pacheco and the choreography of Mora Godoy combine to interpret the dark passion that is the backbone of the Tango. As each scene unravels Giselle’s plight settling in the docks of La Boca, from being forced into prostitution and working a night club, to her quest of finding true love with Lorenzo, the audience is transported to a cinematic world of mobs, cabaret, and unadulterated sweet lust.

The dancers are brilliant, with Celatti and Domenichini’s fluid partner work a beautiful contrast to the sharper, bolder movement of Zanabria and Carla Chimento, who plays the Madam of the brothel perfectly. The connection of the dancers to each other is evident in the larger group scenes like the mob fights and the nights at the cabaret.

It would be unfair to talk about the show without mentioning the music, which serves as the spine of the narrative, taking the tone from playful to tense to mysterious with one stroke of an instrument. Gerardo Gardelin and Lisandro Adrover are to thank for that, and singer Marianella’s soulful voice adds the right kind of pain to a story based on the underbelly of La Boca.

The only hurdle I came across as a non-Spanish speaking audience member was not understanding the lyrics of the song or knowing the nuances of the plot.

Still, Tanguera more than makes up for this with its imaginative storytelling and ethereal implementation. A show that is both enchanting and urban, evolved and primordial, Tanguera proves to be timeless and something that is definitely worth a watch.

Reviewed by Sonia Mukherjee.  Sonia is a dancer and writer currently based in London.

After the ‘Merchants of Bollywood’ the Merchant sisters bring another Bollywood extravaganza with the ‘Taj Express’. It’s all glitz, glamour and glitter, with high octane drama and zesty dance numbers. AR Rahman’s popular tracks and the use of a live band add a spicy mix of background scores.

The story line is light hearted and writer Toby Gough uses the time tested concept of a story within a story kept together by a narrator (‘Sutradhar’ from classical Indian theatre) with a penchant for parody. Deploying the Bollywood favourite ‘rags to riches’ plot it’s a story of Shankar (Mikhail Sen) -an aspiring music composer who dreams to follow in the footsteps of legendary Indian music composer- AR Rahman. Though he is a believer of originality , he is pushed into compromising his creative ideals by his boss the movie director (voice over by Denzil Smith). The subplot revolves around the making of the movie ‘Taj Express’ with Shankar as its music composer and the many travails of its heroine Kareena. It all comes together as a high energy musical- with foot tapping songs and dances and humorous comparisons from mainstream Bollywood and current politics from Corbyn to Trump. A musician from Shankar’s band Flash (Chandan Raina), playing the guitarist is the voice of a critique. He fills in loops by pointing out the run-of-the mill elements in Taj Express the film with witty asides. The script allows him to make a good rapport with the audience.

Vaibhavi Merchant’s choreography is a mix of movements from varied styles from hip hop to Salsa interspersed with semi classical Indian movements. It requires energetic dancers which the show has in plenty. Excluding some mellow numbers, the dancers are engaged in highly energetic dance sequences throughout. The male lead Arjun (Hiten Shah) lives up to the image of a Bollywood star with his handsome presence, fitness and effortless dancing. Kareena (Tanvi Patil,) his female counterpart complements as a perfect match of a Bollywood heroine.

The music is an anthology of AR Rahman’s work in Indian cinema starting with the popular ‘Jai Ho’ number from Slumdog Millionaire to the haunting songs from his Bollywood debut ‘Roja’. The flute played live by Avadooth Phadke brings in a soothing contrast to the otherwise frenetic beat.

Taj express is an entertainer with beats, thumps, splashes of colours and glittery sequins, disco lights and laugh-out-loud humour. You get to try a move of bhangra or breathe the yoga style, sway and dance to the rhythm till the end.

Reviewed by Protima Chatterjee

Samhära is a magnificent collaboration of two exquisite dance forms from India and Sri Lanka. Both all-female cast of dancers, the Nrityagram dance ensemble from India performs the graceful and sensuous Indian classical form of Odissi while Sri Lanka’s Chitrasena dance company performs the more masculine Kandyan dance style- the two dance companies collaborate beautifully in Samhära. Choreographed by Surupa Sen from Nrityagram, Samhära brings together two ancient and elegant dance forms in perfect unison. The resultant fusion is appropriate for the collaborative spirit of Alchemy- the festival that aims to bring together varied South Asian cultures to a diverse audience in the UK.

In accordance with the norms, the stage setup is that of an authentic Indian classical dance showcase. With no deviations, it has the conventional layout – the musicians, with the lead vocalist are seated to the left of the stage and dancers take to the stage after each piece is introduced by a brief narrative. But what is contained within this usual framework is unique- stunning choreography, exceptional performance and a group of 14 gorgeous dancers and talented musicians.

The opening number ‘Arpana’ unveils the traditional and devotional ambience of most Indian classical dance evenings. It is an offering to the five elements of nature and start in the Odissi form with three dancers from Nrityagram dance ensemble. Two dancers from the Chitrasena dance company join in the choreography bringing in a harmonious contrast in movements with their Kandyan style perfectly blending in the choreography. They are two distinct styles of dance with sets of techniques unique to each form. Yet there are brief moments where the visual impact creates moments of ephemeral beauty. As you snap out of these elusive moments, the two forms again stand out with their distinct movements, costumes, beats and individuality. This is the brilliance in choreographic ideas where the two styles are set together in a contrasting yet synergistic design.

‘An Ode to Lord Shiva’, is one of key pieces of the evening presented by Nrityagram dance ensemble. It conjures awe and devotion for the mighty Shiva. Through precise and elegant movements, emotive facial expressions and symbolic hand gestures Shiva is invoked-The serpent garland around his neck, the shining tiger skin around his torso, body smeared in ashes, wild matted locks. Sometimes a smile of perfect bliss adorns his face, the perfect lover to Parvati or his eyes burning in rage ready to strike with his trident. The score of the piece ends in ‘Om Namah Shivaya’ the universal soulful chant while the dancers breathe life into static postures with lights fading out. From this devotional segment, the show moves on to a lighter feel in ‘Alaap’. This is the concluding piece where the two companies challenge, welcome and embrace each other through a musical conversation. This is more of a celebration exploring different nuances of camaraderie, from mischief to solemnity, ending the evening in a happy note.

The Nrityagram dancers with their graceful movements, elegant costumes and resonating bells present an enchanting glimpse of Indian culture – a hint of sensuousness blend with devotion and spirituality. The Chitrasena dance company on the other hand are more energetic and folksier in a performance that celebrates Sri Lanka’s Kandyan dance tradition. The dancers of the company are like young princess hunters with sensuous and agile limbs. Their leaps cut through the air and they land with utmost precision. Their rippling torso movements and extended arms like engulfing wings, held out strong from the shoulders, lend the perfect structure and physicality to the choreography. A compelling portrayal of the grandeur and a distinctive aura of the Kandyan style, sure to give some in the audience a run of goose-bumps at times.

A-not-to-be-missed performance, Samhära calls for more dates in the calendar across international festivals and venues.

Reviewed by Protima Chatterjee

Aakash Odedra performs two temperamentally different dance pieces ‘Echoes’ and ‘I Imagine’ at the Lilian Baylis Studio. ‘Echoes’ is Kathak based and examines dancer’s relationship to his craft. ‘I Imagine’ is a contemporary piece with a socially relevant theme for today’s tumultuous world. Odedra is a raging fireball through the two solo pieces of 70 minutes.
The first piece ‘Echoes’ choreographed by famous Indian choreographer Aditi Mangal Das has an innovative take on the Ghungroo (Kathak bells). The bells that would traditionally go on the ankles of a kathak dancer are a metaphor for the dancer’s attachment to his art. It creates a resonance in the mind through a more visual and emotional experience. The distant tinkling of the bells grow louder as Odedra gradually becomes visible on stage with brightening light. He gently swings a bunch of long strings of bells across the floor side to side below waist level. He is not wearing them but moving with them, placing them, creating patterns on the floor with them. He is gathering them, holding on to them, dispersing the array and gathering them again. This is beautifully choreographed with intermittent kathak boles and movements and spins. When he moves with the bells they create a poignant hollow soundscape. Moving on through the piece you gather images from the dancer’s life where the bells are his lifeline. When he is dancing, there is a meditating quiet. The impassioned physical movement set against the echoing resonance of the bells in the mind create a transcendental moment. There is also a thick bunch of stringed bells loosely suspended at the far back end of the stage. The choreography takes Odedra to this corner to interact with the hanging strands. A stroke or a twirl with his beloved bells. He weaves a trajectory of choreographed movements through them in an intense and intimate moment. Here the bond between the bells and the dancer is projected in heaving waves, while the rest of the world is a blur.
A masked appearance of three generations by Odedra in his second piece “I Imagine” is a dark portrayal of migration. Some hopes are fulfilled, whereas others are crushed. There is disruption and relocation, but the question remains- is there emotional contentment. Immigrants are in an existential dilemma where they yearn for what they have left behind while trying to adapt to their new reality. In “I Imagine”, Odedra tackles this dilemma of immigrants through a captivating performance. Spoken words by award-winning British-Egyptian poet Sabrina Mahfouz provides a strong narrative framework. A part of the audience would have identified with the pulse of the storyline from personal experience whereas others would empathise. Odedra a virtuoso kathak dancer proves himself equally talented in contemporary dance theatre. Though he is not a trained contemporary dancer, he is equally at ease with this form.
One of the most successful artists of his generation, Odedra raises the bar for audience expectation for his future performances.
Protima Chatterjee

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Pina Bausch Mascura Fogo
February 10, 2017 In Review0 Comments 0
Tanztheater Wuppertal Pina Bausch, Masurca Fogo 9–12 Feb Sadler’s Wells.”The entire performance has a very upbeat and infectiously joyful vibe that is a welcome change from some of the more serious and sombre works that Bausch has produced…..” review by Sara Daniels
Masurca Fogo was originally the result of a 3-week trip to Portugal for Pina Bausch and her company, Tanztheatre Wuppertal, in 1997. The entire performance has a very upbeat and infectiously joyful vibe that is a welcome change from some of the more serious and sombre works that Bausch has produced.
The set designed by Peter Pabst is a striking sight. A white box that has a mound of contrasting black rocks, cascading from the back of the stage. This is used by the dancers as they exit and enter the stage, and is in keeping with Bausch’s use of elements in her work.
The audience are taken into the sights and sounds of Portugal. The strong rhythm and beats are heard in the varied and energetic sound track. This is echoed through the trance like choreography seen most in the solo work that transition each phase of the piece.
True to Bausch’s style, each dancer had their own personality that is displayed to the audience. We watched intimate relationships played out from the very small moments like sharing a drink, supplying food, sharing a kiss. To more complex moments that fed the idea of wanting, and needing to be loved.
The humour in the piece aided the joyful atmosphere. Props brought on stage tickled the audience, a live chicken eating a watermelon and a walrus shuffling on stage whilst a group of dancers created a waterslide are two of the most memorable!
Masurca Fogo has a lively and playful tone and it is a joy to spend the evening feeling enriched and uplifted. The show is running until Sunday 12th February and is the perfect escape from the gloomy world outside!
Review by Sara Daniels

London art fair 2017 is proof that the thriving art scene in London has not been deterred by the Brexit induced unsettled political and economic environment.
Over the years, the London Art fair has established itself as the premiere platform for Modern British and contemporary art. This year 129 UK and international galleries were represented. It displayed an amazing variety of creative mastery capturing a cross section of periods and styles ranging from the ornate and conventional to the contemporary. At the entrance of the fair was a welcoming display entitled Ten Years: A century of Art presented by The Lightbox, the museum partner of London Art fair 2017. To mark their 10th anniversary The Lightbox presented a special display of Modern British Art from the Ingram Collection which included key works by twentieth century artists such as Henri Gaudier-Brzeska, Barbara Hepworth, Henry Moore, Ben Nicholson and Eric Ravillious.
The programme featured a variety of talks, tours and programmes covering a range of topics from present day trends in contemporary photography and sculpture, the response of the art world to the current economic scenario, building and maintaining public art collections and global collaborations in the art world today and future possibilities.
The Art Projects programme at the London Art fair, now in its 13th year curated showcase of the latest contemporary art from across the globe featuring 31 galleries this year at the show. It is an important platform dedicated to nurturing emerging contemporary galleries, presenting the most stimulating contemporary practice. For example, Iniva (Institute of International visual arts) exhibited a group of six women artists. Three established artists Sutapa Biswas, Mary Evans and Joy Gregory who have selected three artists in their early-career exhibiting alongside, Sinta Tantra, Marine Lewis and Teija Williams with a bright selection of work. A competent exposure for upcoming artists by Iniva, a carefully organised handholding to provide an early momentum to aspiring young artists.
Photo 50 is another enthralling showcase of 13 contemporary and innovative photographic and lens based artists presenting 50 works most of which see their London debut this year. Entitled Gravitas this years’ edition frames fleeting moments from the adolescent world capturing various stages through to adulthood.
The fair this year presented a trendy show case of contemporary art. Matteo Massa Grande’s enthralling piece of oil and mixed media on board is a great example. Presented by Shine Artists London, Pontone Gallery, his work represents a tangential mix of light, place and architecture influenced by Padua in Italy and Hajos in Hungary. A depth of space and time is felt through the vastness and emptiness of these intricately carved interiors opening to wide vistas of nature. It leads to a subtle but deep undertone to life, energy and romance in desolation. The same gallery presented a completely modern output of thought and technique of a very natural and simplistic theme by Hwang Seontae, ‘The Sunshine Room’ is a catchy piece to the eye, created on tempered glass, sand blasted and presented with LED backlight. It will make you stop and bask in its warmth. The glorious sunshine that washes in through the window in a sketched bedroom is as organic as the warmth of a mid-morning summer sun. It draws you in on a mid-January cold London wrapped in a blanket of fog.
There was a variety of art mediums showcased which ranged from Chinese ink on found paper to oil on lasagne sheets to stainless steel bolts, nails and wood. Some of the mediums were truly pioneering like photographic inkjet prints on archival paper with watercolour paints and LED lights and acrylic, gold leaf and crystals on plexi glass. The gallery Paper presented Hannah Farrell’s work- which was a unique combination of photographic medium as a sculptural object by exploring the substance within and around the subject and its surrounding surface. Farrell combines images through the fluidity of the photographic medium and the solid static nature of sculptures. Her technique and treatment prompts questions rising from gender, the human figure, physical experiences in relation to place and the tensions between freedom and entrapment. Farrell won the De’Longhi Art projects Artist Award at the London Art Fair this year.
The London art fair is a great place to experience British and international art movements. An enthusiastic platform for both established and upcoming artists. We now look forward to the one next year for more from the continuously enriching British expertise as well as international practices for a cross section of the best in the global art scene.
Protima Chatterjee

Unique among music makers of his stature Nitin Sawhney brings his trademark charming interactive style to his live performances. He effortlessly engages the audience with a witty remark here a short anecdote there. Its almost like he is entertaining a small group of friends in his living room but the venue in question is the Royal Albert Hall and the music a path breaking cross over between Indian classical roots and western notes. A super talented group of instrumentalists and vocalists teamed with hip-hop duo Sebastian Ramirez and Honji Wang produces the kind of magic that Sawhney is known for.
The dance numbers choreographed and performed by internationally acclaimed Ramirez and Wang are stunning and immersive. They draw the audience in by sheer force of their movement perfectly blending in with the music. The duo is locked in a unique choreographic synchronisation through their style of hip hop, contemporary and acrobatic- when one is agile and mighty the other is responsive and receptive producing astonishing moments of contact choreography. Shifting force and lending texture to each others movements they create fierce and captivating moments in their dance pieces giving a dramatic edge to the show.
The evening’s presentation sets off with the captivating ‘Days are Gone’ by Eva Stone. This is followed by ‘Sunset’, an all time hit from Sawhney’s repertoire. Sung by lead vocalists J’Danah and Reema Bharadwaj it creates a tranquil mood. From here the evening keeps flitting between jazzy numbers and Indian classical vocals.
Sawhney a multi instrumentalist is equally at ease with the guitar and keyboard. As a composer he has produced an array of breathtaking music across a diverse repertoire. He has skillfully dissolved cultural boundaries through his music which has brought together sounds from across the globe.
‘Dystopian dream’ – his latest album is the output of his trailblazing musical journey across genres and styles. The programme showcased numbers from this album. ‘Time trap’ by lead instrumentalist Manu Delago accompanied by backing vocals from Eva Stone and Reema Bhardwaj is a beautifully woven piece with western and Indian elements. ‘Redlift’ by J’ Danah is a surreal piece sung from the depths of a soulfully etched voice. This set against ‘Tere Khayal’ by Reema Bharadwaj and Ashwin Srinivas is carved out of the Indian classical rhythms and compliments Sawhney’s trademark style of unifying traditional with the contemporary and the east with the west. Though the album is named ‘Dystopian dream’, ironically it produces the opposite-an euphonious harmony of sounds from multiple cultures.
Sahwney has put together a superb ensemble of gifted musicians. Aswin Srinivasan’s flute adds a layer of softness with a hint of nostalgia and longing. Soumik Datta plays beautiful music with his sarod and befittingly for this show plays his traditional Indian instrument standing up like a guitar player. And he carries it off with his music. Aref Durvesh on the tabla is phenomenal. Again like Soumik he does not adopt the posture of traditional tabla players throughout. Rather, in keeping with the relaxed style of Mr Sawhney he delivers a virtuoso performance standing up playing the tabla sometimes like a drum on a raised table.
Mr Sawhney seduces the audience with his casual conversational style and his music which moves effortlessly between haunting jazz and soul, Indian classical vocals, energetic tabla beats and mellifluous sarod and flute sounds. Its the sort of musical evening that leaves you yearning for an encore.
Protima Chatterjee

We are delighted to share with our readers an article from one of our followers and guest contributors. Thank you Arita Mukherjee.
If any of you were at The Rolling Stones Exhibition at the Saatchi Gallery, share your experience with us.
Exhibitionism: a dream come true
The scene is a dimly lit, tiny one bed flat in Edith Grove, Chelsea. There is a dank, stale odour from the discoloured, mouldy walls. The beds are unmade, cigarettes stubbed out in half eaten plates of food, a mountain of dirty dishes and chicken bones piled high on the dirty sink next to a filthy, death-trap gas cooker. And a smattering of 60’s Blues records in one corner of the room…
Welcome to Edith Grove, circa 1962, part of the reconstructed first ever flat in Chelsea shared by the greatest rock and roll band in history – The Rolling Stones. This is the first glimpse of the recently concluded, Exhibitionism at Saatchi Gallery, London – the largest exhibition of memorabilia from The Rolling Stones.
Curated over two floors the exhibition celebrated the Stones’ artistic collaborations in music, art, design, fashion and films. Straight after the revolting Chelsea flat, we moved on to a superbly atmospheric reconstruction of Olympic Studios in Barnes, south-west London, where fans had an opportunity to select a Stones track and move sliders to remix the sound through headphones. This was followed by a selection of film clips introduced by film director Martin Scorsese which immersed us in the rampant excess of the band’s late Sixties-early Seventies peak!
It was great to go behind the scenes and see an entire room dedicated to the development of the now iconic mouth and tongue logo, with a huge mock up throbbing with projected colours and textures. Designer John Pasche describes how Mick Jagger came to him with the idea for a logo based on the Hindu God Kali, and they ended up with the now iconic lips and tongue logo. The art and design section on the first floor was a reflection of the cultural influence of the band spanning decades. There’s acres on the great artists, designers and photographers they’ve worked with over the years – from Andy Warhol, Dior, Prada, Richard Hamilton to David Bailey and Gered Mankiewitz, whose stark, mod-era photography played a significant role in establishing the band’s early image.
Finally the exhibition culminated in a mind blowing backstage and 3D simulated Stones concert experience. Truly, Exhibitionism was a treasure trove of the most multi-sensory barrage of Stones stuff any fan can dream of!
Arita Mukherjee (guest contributor)
Images:The Rolling Stones archive

Cirque Eloize is contemporary circus meets west side story meets urban hip hop and break dancing. It’s placed in a futuristic cityscape partly derived from graffiti comics and science fiction where it strives to seek answers to the existential questions-where do I belong? How do I relate to my group? Who am I as an individual? Its exploration of the graffiti strewn skyscraper framed urban spaces populated by trendy young people poses interesting metaphors for city living.
Contortionists, Olympic gymnasts, jugglers, stunt bikers, in- line skaters, trampowall illusionists, break and hip hop dancers come together to create this intensely amazing city centre feeling. Office worker meets beautiful girl who is part of one of the warring gangs. The two gangs test each others mettle through a series of dazzling acts which culminate in the truly breathtaking 8 minute finale on the trampowall. On the way we meet a multi-talented cast who mesmerise the audience with some daredevil stunts. All of these is choreographed with contemporary urban dancing in the backdrop of futuristic city lights. There are several adrenalin soaked high points such as balancing on stacked up chairs, head standing dance moves, slipping down Chinese poles only to freeze before crashing to the ground , somersaulting on Cyr wheels or flying on aerial hoops. There are also more soul soothing lyrical moments created by the suspended female dancer with the in line skater.
ID directed by Jeannot Painchaud is a perfect amalgam of some breath-taking circus acts with theatre and acrobatic street dancing. In the end it’s a search for the urban soul which finds beauty and individual expression through street art and urban dancing. It’s a show which in this day of television and reality shows exposes you to the power of real time stage performance.
Protima Chatterjee
Catch our interview with Cirque Eloize below.