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but they’re also talented enough that watching even an uneven collection of small pieces like this feels exciting, like being at the start of something. The first piece, 2, is choreographed
and performed by the company’s director, David Beer, along with Verity Hopkins. It’s a tantalisingly short work- in-progress, juxtaposing Renaissance and modern dance forms and the music of JS Bach and Aphex Twin, the dark, cruel physicality of the choreography emoted particularly well by Hopkins.
It’s followed up by the utterly
dazzling (ironically) Inertia, in which Beer marks himself as a choreographer to watch. Classical ballet lines are shattered by compulsive physical tics and languid floor movement, as three dancers attempt to wrestle their bodies to action. Unfortunately, the final two works, by guest choreographers, lack the confidence and sparkle; Gloria particularly is a rather misjudged attempt at a talk show/karaoke format, which sits awkwardly with the more
abstract works. However, they’re still an enormously promising company. (Kirstin Innes) ■ Zoo Roxy, 662 6892, until 28 Aug (not 23), 2pm, £7.50 (£5).
THE REGRETROSPECTIVE The tiger who came to tea with his ex-lover, the horse ●●●●●
Under ‘experiences that could only happen at the Fringe’, chalk up ‘watching a woman wearing a horse’s head use flamenco to seduce her ex- lover, a large cuddly toy tiger, in a bedsit, to a trip hop soundtrack’. And yet, bizarrely, dancer and multimedia artist Juliet Aster makes it work.
The Regretrospective is a weird but somehow charming mishmash of lo-fi stop-motion animation, puppetry and dance – performed to a toy tiger. Perhaps realising that this sort of quirkiness could easily become wearying, Aster keeps the running time short and sweet, so it comes in at well under an hour. Although the soundtrack is a little dated, and the use of film dialogue
from the television set for explanatory voice-over a well-worn trope, Aster’s command of flamenco is such that even in a tiny performance space, while wearing a horse’s head, you really do believe her passion. For the toy tiger. (Kirstin Innes) ■ Zoo Roxy, 662 6892, until 30 Aug (not 16), 9pm, £10 (£8).
Festival Dance 120 BIRDS Glamorous homage to dance gone by ●●●●●
What a treat this invented slice of dance history is. Inspired by the international touring of such dance legends as Anna ‘The Dying Swan’ Pavlova early in the 20th century, Liz Lea has mounted a fabulously ambitious little show for which she co- designed the drop-dead-gorgeous costumes.
The glamour puss dancer- choreographer also takes the lead, narrating the saga of a fictional Australian troupe and its breathless adventures on the road. The moves Lea and three fine dancers execute are mainly her smart, stylish take on social dance, ranging from the tango and Charleston to the waltz, with a treasure trove of archival film footage as backdrop.
For the record, the title refers to the number of feathered creatures Pavlova is said to have taken with her on her last tour of Australia. On press night the production was still a little rough round the edges, but that doesn’t detract from the care with which it’s been assembled. 120 Birds is as much a labour of love as My Name is Margaret Morris (also on at Dance Base this Fringe), Stuart Hopps’ solo tribute to a real-life UK modern dance pioneer. (Donald Hutera) ■ Dance Base, 225 5525, until 22 Aug, times vary, £5.
INTERTWINE Works, and dancers, in progress ●●●●●
ALONZO KING LINES BALLET Modern classical dance with an Indian beat It’s part of our make-up to search for the meaning in things. So it’s no surprise that when an audience sits down in front of a piece of modern dance, the big question in most people’s heads is ‘what’s it all about?’.
Bringing two works to this year’s Edinburgh International Festival, award-winning San Francisco- based choreographer Alonzo King would rather we made our own minds up. ‘Dust and Light happens on so many levels,’ he says. ‘There are themes of support and struggle, and a microscopic look at relationships. But people will look at the piece and apply their own narrative – which is their right, because I don’t think the author is the definitive voice on anything that’s ever made.’
Accompanying Dust and Light is Rasa, another work of contemporary classical dance, which King created in close collaboration with Grammy Award-winning tabla player Zakir Hussain. A child prodigy, Hussain was touring with music legend Ravi Shankar by the age of 12, and is now viewed as one of the world’s finest musicians. In a Festival coup, he’ll be performing live on stage alongside the dancers.
‘You just can’t beat sound that is happening in the moment,’ says King. ‘Some theatres can’t afford live music because the cost of touring it is prohibitive, but Edinburgh has the privilege of Zakir being there, and he’s an amazing artist – a real monster of music.’ (Kelly Apter) ■ Festival Theatre, 473 2000, 26–29 Aug, 8pm, £10–£28.50.
Collisions Dance Company are on the cusp. They’re young enough – as a company and individuals – that they haven’t quite found their own style yet, Online Booking Fringe www.edfringe.com International Festival www.eif.co.uk Book Festival www.edbookfest.co.uk Art Festival www.edinburghartfestival.org
50 THE LIST 19–26 Aug 2010