In grey chiffon costumes, which complement the backcloth grey canvases of geometric design, originally by Robert Rauschenberg, reconstructed by Celeste Dandeker (costume), and David Lock (set), they waft gently, in easy loose-limbed style, all pendulum and propeller arms, to Laurie Anderson’s repetitive score. Isn’t that wonderful?Īnd the Candoco dancers are wonderful in this well-chosen revival of Trisha Brown Dance Company’s 1983 Set and Reset/Reset. We should all be dancing-there are no restrictions only those we put on ourselves.
One reads that Parkinson’s sufferers improve with dancing. Where McGregor distorts bodies, Candoco Dance Company, comprised of disabled and non-disabled dancers, proves that anyone can dance, that disabilities can grace movement display. Is this tension, collusion or conflict, or McGregor testing the limits? To Ben Frost’s spiky music, these interstellar spiky creatures flit, pleat and unfold, from primordial forms to Paolozzi Newtonian, in unstable distortions, the old and the new commingling.Īn exploration of space, of galaxies, the dancers no more than the smoke clouds that drift across the stage-is there some cognitive plan? Patterns, regular and irregular, repeat to the point of hypnotic overload, and dancers moves jar in multi-jointed deformed display. Against Lucy Carter’s computer lighting grid backscreen (set by rAndom International), the dancers are Muybridge specimens reincarnated for the electronic age.įour heralds with flaming torches transcend eras, but the dancers in nude costumes fire like computer-controlled electrons. That may be McGregor’s inquisitive intellectual starting point, but the result is futuristic. ‘Inspired by the controversial Age of Enlightenment and by the 18th century French philosopher Diderot's very first set of encyclopaedia, FAR mines an era that first placed a body in question’… Wayne McGregor’s familiar fast, arched, and arch, dance vocabulary was performed superbly by his company, the ten dancers thoroughbreds in perfect dressage. Tickets were at a premium at Sadler’s Wells for the Wayne McGregor Random Dance, Candoco Dance Company, Hofesh Shechter Company Triple Bill, and for Russell Maliphant’s new work, The Rodin Project. As well as these reviewed here, there was also a double bill of Richard Alston Dance Company’s new Unfinished Business and the National Dance Company Wales in Stephen Petronio’s By Singing Light for one night only at the South Bank. Some shows were open to the lucky public. Produced by the London Consortium of the Dance Umbrella, East London Dance, Greenwich Dance, ROH, Sadler’s Wells, The South Bank Centre, The Place and Trinity Laban mainly for people in the business, it wasn’t all behind closed doors. Supported by Arts Council, British Council and National Dance Network Initiative, British Dance Edition London 2012 had about 35 companies showing off their wares. Russell Maliphant Company The Rodin ProjectĪccording to the press release, 2-5 February there were some 300 delegates from across the UK and the globe in London for the biennial British dance showcase. Wayne McGregor Random Dance / Candoco Dance Company / Hofesh Shechter Company Triple Bill: : FAR / Set and Reset/Reset / The Art of Not Looking Back
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