Resolution 2019’s Opening Triple Bill Explores Myriad Themes

13/01/2019

Res

Resolution 2019 – VoidBlacklistNo Sudden Moves: The Place, London, 11.1.2019. (J.O’D)

TRIBE//’s No Sudden Moves (c) Camilla Greenwell

Void

Choreography, concept and performance – Jane Chan

Music – Frankie Chan
Costume – Izzie Byers
Lighting – Karen Kwong and Jane Chan

Blacklist

Performers – Jordan Douglas and Joshua Nash

Choreography – Joshua Nash
Music – Torben Lars Sylvest
Costume – Izzie Byers
Lighting – Antony Hately

No Sudden Moves

Performers – TRIBE// (Lewis Cooke, Finetta Mikolajska, Folu Odimayo, Rose Sall Sao, Victoria Fox and Jeph Vanger)

Choreographer – Victoria Fox
Sound Design – Jeph Vanger
Costume – Ryan Dawson Laight
Set – Wojtek Markiewicz and Victoria Fox

The six-week-long ‘festival of new choreography’ opened at The Place with a triple bill of work on the themes of Alzheimer’s disease, ‘brotherhood, friendship and isolation’ and a ‘groundhog day’ series of events in a ‘world of tension’.

In Void, Jane Chan turned on the spot in a prison-like square of light to represent a disease from which her own grandmother suffered. Centred, grounded and expressive, dressed in grey trousers and white overdress that had its own part to play in the performance, the dancer looked anxiously out into a middle distance and felt the air repeatedly with her hands. Briefly, her upright posture and smile suggested, she recaptured a sense of herself. The music may have been a little too easy on the ear, the piece may have been a little too long; but it was a moving piece.

Krump, according to Wikipedia, is kind of street dance that involves mentorship and a non-violent release of aggression. In Joshua Nash’s Blacklist, which uses ‘the deeper layers’ of Krump vocabulary and culture, it takes the form of a taller and shorter dancer (Nash and Jordan Douglas), identically dressed in fawn-coloured work trousers and black socks, identically coiffured, who begin by pacing the stage with bowed shoulders and downward looking faces. Striking for their sheer physical presence and ‘undancerly’ muscular development of upper body, both are surprisingly light on their feet when it comes to moving around each other or sparring. The ‘deeper layers’ of Krump are arcana to this reviewer, but from their cheers the mostly young audience at The Place found the piece convincing.

The final work, Victoria Fox’s No Sudden Moves (for the company TRIBE//), was the most elaborate: five dancers in distressed garments, onstage DJ, moveable screen (with door and window cut into it) to represent some kind of makeshift shelter. Beginning with a series of tableaux vivants, in chiaroscuro, that brought to mind the aftermaths of terrorist attacks or natural disasters, it seemed to toy with the idea of becoming a small-scale The Rite of Spring, then The Rite of Spring without a Chosen One. Then it seemed to reject both those possibilities to become something else.

Hofesh Schecter might have been a reference for the ensemble sections, but that choreographer would not, I think, make men and women dance towards the audience undulating their hips in unison, or have them hold up both hands joined in the form of a flower. In a festival of new choreography, that did seem choreographically new. There was something of Jasmin Vardimon, too, in whose company Victoria Fox has performed, in the use of the screen and the way two women danced the same dance on one side of it, while the third woman (lifted by the men) looked on from the other side.

If a little generic in its ‘dancier’ parts, a question of squats and spins, No Sudden Moves contained sufficient moments of originality in its choreography and its mise-en-scène to make one interested to see the longer work of which it is an excerpt.

John O’Dwyer

For more about Resolution 2019 click here.

Print Friendly, PDF & Email

Comments

Leave a Reply

Recent Reviews

MW

Facebook-button-1

Season Previews

__________________________________
  • NEW! Venus Unwrapped: Kings Place’s Year-Long Focus on Women Composers __________________________________
  • NEW! Opera Buenos Aires in 2019 – Largely Traditional __________________________________
  • NEW! English National Ballet at the London Coliseum 13 December 2018 – 20 January 2019 __________________________________
  • NEW! Looking Ahead to the 2019 Lucerne Festivals __________________________________
  • NEW! Opera Holland Park’s 2019 Season __________________________________
  • NEW! The Met: Live in HD in 2018/19 __________________________________
  • NEW! The Royal Opera House’s Exciting 2018/19 Cinema Season __________________________________
  • UPDATED! Zurich Opera in 2018/2019 and Beyond __________________________________
  • NEW! Salzburg Whitsun Festival 7 – 10 June 2019 __________________________________
  • NEW! Bolshoi Ballet 2018/19 UK Cinema Season __________________________________
  • NEW! 2018-2019 Geneva Grand Theâtre Season __________________________________
  • NEW! 2018/19 Hallé Season in Manchester __________________________________
  • NEW! 2018/19 Tonhalle Orchestra Zürich __________________________________
  • NEW! 2018/19 CBSO at Symphony Hall, Birmingham __________________________________
  • NEW! 2018/19 BBC NOW in Cardiff and Swansea __________________________________
  • UPDATED! English National Opera in 2018/19 and the New Free Tickets Scheme __________________________________
  • NEW! The 2018/19 Birmingham Classical Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

    __________________________________
  • NEW! Ik zeg: NU: I say now, now … an interview with Richard Causton __________________________________
  • NEW! Grieg Grainger Piano Rolls: an Equivocation __________________________________
  • NEW AND UPDATED! SOME OF SEEN AND HEARD’S REVIEWERS LOOK BACK AT 2018 __________________________________
  • NEW! CONDUCTOR ÁDÁM FISCHER IN CONVERSATION WITH MICHAEL COOKSON __________________________________
  • NEW! BARITONE SIMON MECHLIŃSKI IN CONVERSATION WITH ROBERT BEATTIE __________________________________
  • NEW! CONDUCTOR ELIM CHAN IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! Iain Farrington’s Mahler Piano Series was an Extraordinary Marathon __________________________________
  • NEW! SOPRANO ELENA MOȘUC IN CONVERSATION WITH CASEY CREEL __________________________________
  • NEW! THE PIANIST ANGELA HEWITT IN CONVERSATION WITH GREGOR TASSIE __________________________________
  • NEW! The Future of Opera is Theatre: An Essay by Casey Creel __________________________________
  • NEW! MAESTRO RICCARDO FRIZZA IN CONVERSATION WITH MARGARIDA MOTA-BULL __________________________________
  • NEW! A Q&A WITH GERMAN SOPRANO PETRA LANG __________________________________
  • NEW! TENOR NICHOLAS PHAN IN CONVERSATION WITH CHRISTOPHER SALLON __________________________________
  • NEW! HOW TO CONTACT SEEN AND HEARD INTERNATIONAL __________________________________
  • Search S&H

    Archives by Week

    Archives by Month