Festival Dance
DAMNED BEAUTIFUL oo
Dorian Gray does discordancy
One of many pieces pivoting on The Picture of Dorian Gray at this year's Fringe. this duet pares down the compleXities of \"r’iide's novel to focus on the obsessi\.'e sexual reratioi‘shii) between Basil Hallward and ."ilfS beautiful boy. There is some beautiful choreography and physical cl‘aracter work here — the opium-gla/ed love affair comes across well. and Ker‘ Patrick's Dorian is a |.the. amoral il()l‘. cub. stretching an< basking in the su'ilight of his own sensuality.
But Easting erlgagem(}".t is made impossible by a truly ant/fut lll‘."£‘.i3|\.t} SOundtrack. the sort that attempts to convey tension through l:an an hour's relentless. high volume. ti‘.d.is:rial screechng and a badly piayed harps'chord. and serve po: "ly itCiCCl. cheesy ‘JOICOO‘JC'fs ".'.’£lll{)l)ll‘it} the audience over the nead \.'.'.'.n the moral. It seems a siiar‘te flat the dartcers weren't tr..s‘.e:t to carry the f‘ét-‘l’iiti‘n theinsel\.'es: they ‘-.'.'ou7:i hate done a better job. (Kirstin ln'tesi I Pleasance Dorrre. until 2,! Aug (no! 12 8 75)). 2.40pm 5‘2' 5‘03
NYCHT—HEMERON 00
Poetry and motion
Despite Outside ln's good .i‘terttions r they help young performers gain experience — neither the bland choreography nor the Y"(3(ll()(:l'(3 dancers' l(}(2ll"!(ltl(: rescues {waitr- Hemeron from 't:; difi.cu?t early morning
slot. Putatiyely exploring tine passage of a day. it is a series of character‘tess contemporary ballets that ntai‘iz‘iges to neither provoke "e" excite.
The structure of the snosr is pedestrian: the mildly diverting trios and solos are interspersed th laboured readings of classica' poetry. The costumes and lighting do not elaborate on the theme. and it is (lllf‘CUii to know
exploring. A dance performed o flashlights. picking out isolated limbs and whirling lights. bursts u'rith sudden energy and ext)erimentation, but the majority of the y'rork is polite. tastefuf and uncOminunicatiye.
Rather than aurorking ixritn t re dancers abilities. the choreography forces a mannered classicism on technique that cannot support It. Good intentions
50 THE LIST FESTIVAL MAGAZINE '
aside. this is disappointing. (Gareth Vile) I C Chambers Street. 0845 260 l212. until 25 Aug. 10am. $650—$860
(57:3. 5()-—5§/'. 50;.
SA-CHOOM oooo
Sensory Korean overload
They call it a dance musical but Sa- Choorn is more like a happy assault vehicle. Big heats mix with big smiles in a rolling collision of l_)reakdancing. martial arts. techno. hip hop and glossy pop. It's all about feeling good. and With the verve and enthusiasm emitted from this Korea based troupe it's difficult to resist the order.
There may be a few too many techno beats. and the high-energy singalongs are conducted with greater
BALE DE RUA ooooo CAPOEIRA KNIGHTS 0000
Brazilian back flips and beats
zeal than a mercenary aerobics instructor. Thankfully. the more full-on poptastic routines are interspersed with set pieces that emphasise the depth of talent wrapped up in these performers.
Shadowy dances with flashlights. comedy mime routines. a tango dance that dissolves into disco. extravagant break dancing battles - they're all here. You might get the feeling you've been dropped into a giant. madcap videogame. but actually it’s just a crowd pleaser like no other.
(Susan Wright)
I Musical Theatre @ George Square. 662 8740. until 25 Aug (not 7 7), l.45pm. {7050—97 7.50
(£9. SO—E l O. 50).
STATE OF MATTER nee Breakdance/contemporary fusion hits the spot
Following last year's pattern of hip hop informed acrobatics. ragged yet stunning male ensemble dancing and spectaCuIar solos. 2FaCeD DaNcE Company has tightened up its structure and enhanced the Showmanship. It remains a forceful display of masculine prowess. leaping and twirling and
The gorgeous Bale de Rua troupe rules the stage with enthralling drum beats, breathless body movements and innovative set pieces. Telling a loose story of the slaves who came to Brazil, this semblance of structure bows down before a musical journey that segues through deep bass, rip-roaring salsa, spell-binding chants and strident hip-hop. However, it’s the leaping, twisting, rippling performances that really beat you into happy submission. In the midst of paint, ribbons, flames and head spins, every deft move and expression is precise and assured. Brandishing big metal plates and horns, the men conjure up a ship at sea on a dark foggy night. A lone female dances in between shadow and a handheld orange spotlight, evoking spiritual passions of days gone by. It’s no wonder the audience gave this several standing ovations. Dynamic, heart-lifting and oozing imagination, this is a
Fringe must-see.
Taking over a more modest stage at The World in Shandwick Place, the Capoeira Knights bring a piece of the favelas to Edinburgh. Less elaborate than Bale de Bua, this is nevertheless packed with muscle, attitude and a big hunk of upbeat Brazilian soul. Capoeira means ‘the dance that kills’, and was born when African slaves disguised their fighting to avoid interference from
masters.
It’s brought to life by an endearing ensemble that recreates street fights and warrior dancing before moving onto the birth of samba. The body bending acrobatics and street-cool moves are complemented by big, feel-good tunes that will have you reaching for a caprinha and a flight across the Atlantic.
(Susan Wright)
I Bale de Rua. Assembly ta; Assembly Hall. 623 3030. until 25 Aug (not I 7).
(1:30pm.i‘l:3~~§‘i7li‘lrlwl‘lS)
I Capoeira Knights, The World 10> St George 's West. 07527 050265. until 37 Aug,
7pm. 5‘ M (i‘l2; children 5‘5)
w H.111 .) ,. 6‘,
www.list.co.uk/dance
moving the audience to spontaneous ovations.
It seems churlish to suggest that the dancers COuld be more precise. or that the relentless forward momentum makes the performance drag. As a series of unrelated dances. it is a procession of outstanding moments rather than a narrative. However. the non-stop energy is overwhelming. an ecstatic celebration of the body's potential and contemporary dance's ability to incorporate break dance and delight an all-ages audience.
An hour of fun and drama. astonishing jumps. head-spins and catches. this young company is a bright hope for the future of male dance: unashamedly popular. yet intelligent and rightly confident of their power. ferocity and technique.
(Gareth Vile)
I Udderbe/Iy's Pasture, 0844 545 8252. until 25 Aug (not 73). 4pm, 872—0450 (NO—£73.50).
HOLDIN’ FAST
The mathematics of sexuality 0...
As we file into the UK debut by the Czech Republic's only professional contemporary dance company. we're confronted by the body of a young man. draped over a blackboard covered in mathematical equations. Upstage. under a half-raised Curtain. running sets of legs. whoops and cheers suggest the heightened sexuality of teenagers at an illicit house party. It's a nice juxtaposition for a work that tries to find logic in sexual attraction.
Three male and three female dancers. , each playing a distinct character. enact the multiple possibilities of sexual relationships. There are skits — a cheeky attempt to explain the possible outcomes of a threesome using maths. a very literal sex kitten invading the audience — and there are moments of visual beauty. The writhing dancers travel. serpentine and horizontal across the floor. coupling and recoupling. while petting and eroticised play becomes violent. constrictive mauling and the private agonies of those spurned. (Kirstin lnnes)
I ZOO Souths/d9. 662 6892. until 25
Aug (not 77 8 78). 7pm. ElO (E8).