DANCE
David Hughes knows a thing or two about pain. From a drug rehab centre in Muirhouse to one of Scotland‘s largest theatres. The Curve Foundation As one of the most interesting dancers of his (CF) has come a long way. While the company‘s performance spaces may have changed. the gritty generation. Hughes has performed with the UK‘s ' determination of this ambitious company remains the same. For nine years. artistic director Ross fittest companies. from Rambert to DV8. But Cooper has battled against inadequate funding. producing consistently strong work on a shoestring with his 40th birthday on the horizon. Hughes is budget.
the first to admit his body hurts much of the time. While the company's financial situation has altered little during that time. the decision to perform at Not that a bit of pain will stop him. Twenty years Edinburgh‘s King’s Theatre signals a huge shift in Cli's profile. ‘(ioing to the King's has been a big into his career. Hughes is as driven as ever. step.’ admits Cooper. ‘But artistically I feel we‘re ready. The works we're performing were all made committed to making his company as successful for major theatres throughout the world. and I felt it was important to show the work in the right way as possible. liven if he‘s not sure how to brand it. here in Scotland.‘
‘I try not to use the word contemporary because As usual. Cooper has matched local talent with performers drawn from further afield — in this it frightens a lot of people away.’ says Hughes. instance ex-dancers with NDT and Lyon Opera Ballet. Dancer loyalty at Curve is fiercely strong. and 'But I‘m still trying to find a word to describe drawing technically strong dancers into the fold has never been a problem for Cooper. What does he what I do. I just want the name David Hughes to ‘ attribute that to‘.’ be synonymous with a good. entertaining show.’ ‘If you get the work. the talent wants to come and dance it.’ he says. 'We've tried not to let ourselves
Hughes‘ current company features ex-Scottish be thrown by the lack of money — even though our entire funding barely stretches to Scottish Ballet‘s Dance Theatre members Errol White and Davina pointe shoe budget. The audiences respond to our work and so do the theatres. So even though we Givan. and breakdancer Matt Foster among haven’t had the response we‘d like from funders. the choreographers we‘ve been working with have others. All three have been getting a taste of the vindicated the company in many ways.‘
Hughes pain. ‘The rehearsal period for our new Alongside pieces by Rui Lopes Graca. Henri ()guike and Ana Lujan Sanchez. Curve will be show was full-on.’ explains Hughes. ‘Matt hurt presenting William Forsythe's [)llU — a real feather in Cooper‘s cap. Widely regarded as one of the his knee. Errol put his back out and Davina split world‘s most important choreographers. Forsythe is extremely choosy about who performs his works. her chin open and was rushed to hospital. It was As is Merce Cunningham. whose work appeared in Curve‘s last season. Getting the nod of approval
that physical - and painful.‘ from such esteemed choreographers is testament to Cooper and his dancers. The woman responsible for such perilous ‘You don’t get pieces from liorsythe and Cunningham without a lot of investigation.‘ explains
movement is Tanja Liedtke. ex-Australian Dance Cooper. ‘But it proves the high level the company is at. that these choreographers want their work Theatre. at company known for its body- shown on these dancers. I think we have a tendency in Scotland to go "we‘re Scottish. so it must be slamming style. The punishing rehearsals for crap". but the fact that liorsythe and Cunningham are giving us their work says that. actually. no we‘re Liedtke‘s new work. lmplnderl: Une Reverie not.‘ Rumuntique. took Hughes down memory lane. King’s Theatre, Edinburgh, Fri 18 & Sat 19° May. ‘That was how I worked in the 8()s.‘ he laughs. ‘The dance till you drop mentality. take lots of pain killers and just get on with it. But Tanya was inspiring and passionate. It’s a dynamic piece.” The night will also feature Rafael Bonachela‘s /4.'Free:e-Hamel. and a new duet by Hughes 3 entitled Matt's Lost His Groove. Working with a g dancer more used to head spins than pirouettes ' has proved an interesting challenge. ‘I didn‘t want it to turn into one of those programmes where Matt the breakdancer becomes a ballet dancer in three sessions.‘ says Hughes. ‘I wanted to make sure that he is what he is. And I'd like to think the end result is something slightly different. a light-hearted look at movement.‘ Despite his vast experience as a much admired performer. Hughes‘ company was only formed in 2005. but he‘s keen to show just what Scottish dancers are capable of. ‘We really want to challenge ourselves. to do something different.~ he says. ‘There‘s a real variety of companies here in Scotland who can match anything in Europe.‘ Traverse Theatre, Edinburgh, Fri 1 1 & Sat E 12 May; Tron Theatre, Glasgow, Tue 15 8: Wed 16 May.
10-24 May 2007 THE LIST 1 1