a tv~.ro-handed expres‘Sron of different aspects of womanhood. wrth strong balletic influences. and 'Libra'. a dissection of the flamenco dance structure and form. Though confidently performed. the show would benefit from a more cohesive structure. and a tighter relevance of the indiVidual pieces. iGareth Daviesi
I The Garage C/iaprteau. Princes Street Gardens l”./est. until Aug 26. 8.30pm.
appears undisciplined. but as a dancer his body has a degree of control that could surer be better used in serious movement— based work. Instead. this show Just feels like the work of an enthusiastic amateur. (Gareth Davies:
I 'l/ieatre l'/orks/iop. 226 (342:3. until 78 Aug. 9.30pm, 20-24 Aug,
7. Nip/n. 55$) 47/.
JOURNEY Flamenco, ballet and toxic waste .00
LamatDance present
three pieces r‘c‘ rf‘Sr.
choreograi)hed by
Carmen Vilches. LUMA .
including a work in Let there be “gm 0...
progress. Interestingly it is this work. concerning a third V‘Jorid tribe infected by contaminated First World waste. that is the strongest of the pieces. With a clear narrative. figures present a light and a haunting. show that is as beautiful evocative atmosphere. it as it overshatlows the other two 'x/orks. 'tvtuler' is _ . ‘5
It's true »- some of the best experiences in life happen in the dark. Lurna is the theatrical equivalent of the aurora borealis. as six shadovn
Indian dance festivities at the Royal Lyceum, Usher Hall and the Hub as part of the International Festival
is dramatic. a Fantasia
with torches. the ll‘tlSKl ranges from classical to contemporary.
The most interesting dance sequences are the less literal. more abstract ones. such as those involving flourescent geometric figures and lengths of glowing rope. though the 'underwater' sequences with black- light puppets will keep children entertained. too. It's witty. clever. unusual and. though hardly intellectually challenging. very pretty. and great fun. iGareth Daviesi I George Square
[heat/e. (5625-33310. untr.’
25) Aug. 9.30pm. l 419/.
TOKYO
TRIANGLE Cross-cultural confusion 00
Japanese dance can be a truly outlandisl‘ experience and Butoh is no exception. The characteristic imagery of the grotesquely deformed
body presents a picture
that denies the Western sense of
aest‘ietrcisin and opens
al? sorts of new
p( ssibilities for physical
expression. ()r‘ at least rt sliot.;d.
lriis is not a piece without charm the dreamlike sequences are interesting unpleasant and
tenacious rinagiiiings all
provoke unconscious and unnotrcc-z'ible iritages.
But the production fails to resonate either the brutality or the serenity so intricately linked to Japanese dance leavrng this a confused and cluttered piece. (Anna Millarr I 7hr) Garage. 2;)! 9005). until an Aug loot 2’01. 8. lop/n, 5‘6 (5‘53).
BHUKHAM AND SARPAGATI Indian dance odyssey O...
This is a magical performance. Daksha Shelli Dance Company are visions of grace, strength, fire and deep sensuality. lhe dancers display what awesome feats our bodies are capable of with an intensity of focus and control that sends shivers down your
UPSIDE DOWN
Frankenstein revisited 0.0..
Welcome to the weird and wonderful world of DOTheatre where everything is turned upside down and inside out. Insanity and chaos rule in this darkly comic version of Mary Shelley’s Frankenstein where monsters and makers become indivisible. Here the trio have extracted the darkest elements from the story and married them with the madcap humour found in silent movies.
Thus the curious carnival of madness that parades across the shadowy stage fluctuates between the perverser serene and the absurdly raucous. But it is the physically intuitive and accomplished performances of the three dancers that breathe new life Mo an old story. (Isabella Weir) I Theatre Workshop, 226 5425, until 18 Aug, 5.30pm, 20-24. Aug, 3.15pm.
£9 (92), , :Ji .. .
spine. “10". slrtiier‘ and ‘.'.’lll(f Lil) and down ropes 7 slipping into lotus position l‘-‘l(l air as if it was second nature and are as iiiipr‘c-ssi\.'e in their natural. essential sequences as they are tl‘ a futuristic space setting.
A solo spot. ‘.'."l(}l'(} dressed as a green Martian. lsha Sharxani's legs are- bent back over her head to wake her into a four legged creature. is truly r'eriiarkable. (Ilioieographed by Daksha Shelli. classical dance meets ll‘<)(l(?l."i inno\atic'i in a compelling. exhilarating production. lituth Hedges.
I 53' Stephens. :55»; .‘i‘i‘i‘ofi‘, (Nit/i" [’4 Aug trio! .‘tii. (ifl'i’, 5‘5) (VI.
3
tti ' r
.’ii
DOUBLE TROUBLE
A wonderful success story
“I don't believe in words.‘ says Hungarian dancer- choreographer Yvette Bozsik. ‘I believe in riiovements. in gestures. in eyes. You can see it in Oriental dance. It‘s very concentrated. meditative and expressive at the same time. For me. the eye of the dancer is even more important than the body.‘
Bozsik. a Fringe favourite since avant-garde impresario Richard Demarco first imported her in 1987. returns with eyes. body and soul intact. Her vehicle is Double Trouble. a duet based on a play with the unusual title Xtabay. In Bozsik's adaptation. she and dancer Tamas Vati together assume the shape of a bird as a metaphor for the notion of platonic mate-seeking.
Demarco regards BOZSlk. now in her mid-308. as ‘one of my success stories. The Fringe needs her outstanding talent. She should really be in the official festival.“ Expect dance with a magisterially heightened sense of theatricality. (Donald Hutera) I Demarco-Rocket. 226 6999. 77—24 Aug, 7pm, 5.79 (535/.
. .‘ THE LIST FESTIVAL GUIDE 33