Apologies everyone, it’s been a long time since you heard from the headtail connection. I have a number of new posts in process: a summary of the response to my last post, a review of the Congress on Research in Dance conference in Athens, a look at a recent dance and disability case to name but a few… but it seems apt that I should start off by putting my money where my mouth was, and reviewing the graduating year at TrinityLaban in their program of newly commissioned works.
Lea Anderson opens the show with FLICK – a danced reconstruction of four works for film. As always Anderson manages to be bang on trend without ever resorting to the ennui of stereotype: her lime-green androgynes dance themselves and the camera, panning, tilting and layering through club dance and the American moderns. Long-term collaborator Steve Blake plunges us deep into electronica, and the dancers rise to the beat in dynamic and geometric unison. A rather abrupt ending leaves us guessing, rather than satisfied.
From behind the camera a people’s yell of “TAKE RESPONSIBILITY” begins Matthias Sperling’s new work: 17 Manifestos Manifested. Proposed as a graduation celebration come life-plan, from the audience it looks like a savvy expression of political illegibility. Manifestos cross and overlap, some realised with delightful literality, some obscured in the abstract of post-modern improvisation. Ingvild Marstein lies splayed on the floor giving love to the environment, while around her dancers attempt to “call your mum,” “make art with responsibility,” and “be patient.” It’s a great and funny game, although the point is somewhat lost when it all resolves into harmonious unison in defiance of real-world experience. Hope for the future maybe?
Stephanie Schober adds to the playful atmosphere of the first half, with getting-to-know you games, acrobatics and flying sheets of paper. At its best, the work has an easy legibility of movement and rhythm, although to my mind it itches for a gallery transplant and time to really explore itself. Schober deserves credit for her easy handling of such a large cast, drawing on the creative potential of hiding and revealing, while giving us plenty of new ideas to mess around with.
Pools of light and stillness characterise Charles Linehan’s work, and A Quarter Plus Green is no exception. Among the five works featured this one alone “does” gender: male and female bodies falling into partnered pairs just too often for coincidence, but is noticeable only because no-one else tonight is doing it. Pairs overlap, shift and merge, the dancers twisting, falling and never quite coming to an accommodation with themselves or each other. Strange shapes tease from just outside the light, and while the dancing is mature and sophisticated, it makes an uneasy conclusion as a night as a whole…
…But I will not be sharing with you the final work of the evening. It is 2018 and in light of new information about this work’s choreographer I cannot in good conscience retain my review of her work. This piece will end on a strange and uneasy note, with my apologies to the dancers who suffer for this removal.
I’m tempted to look at the whole night as a reflection on the state of British dance, but more importantly I want to congratulate this year’s graduates, who can look back on their achievements and greet the professional world with pride. They’ve got style, they’ve got moves, they’ve got commitment and they know how to move you and how to rock. Their dance is big, it’s open, it’s generous, it’s artistic… and despite my love of closure, it’s definitely not done.
Commissioned Works runs tonight at the Bonnie Bird Theatre in Greenwich. More information and tickets at: http://www.trinitylaban.ac.uk/whats-on/dance-events/dance-showcases-0