Tag Archives: Lilian Baylis Studio

ΑΓΡΙΜΙ (FAUVE)

★★★

Lilian Baylis Studio

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ΑΓΡΙΜΙ (FAUVE) at the Lilian Baylis Studio

★★★

“Deeply visceral and undeniably blunt”

The concept of Αγρίμι (Fauve) is simple, yet primitive: humans and animals, coexisting, changing, merging in the wild and unexplored corners of the forest. It’s not new or groundbreaking, but its focus on the constant transformation and the hints of an underlying progression makes this piece intriguing to say the least. Created and choreographed by Lenio Kaklea, it attempts to comment on our place within the natural world and order with the forest as its backdrop.

There are clear sections that give the audience a sense of evolution. At first, the three performers, Lenio Kaklea, Georgios Kotsifakis, Ioanna Paraskevopoulou, are fully clothed and following a distinct set of steps and repetitions, some might say in a sequence that resembles contemporary dance the most. There is an unyielding collaboration, a direct playfulness that quickly turns into something dangerous. Suddenly, the performers are aware of one another the way a pack would be, observing and adapting to the others’ behaviour. All this happens in perfect harmony and synchronisation, while a sense of mistrust and tension is boiling underneath.

It doesn’t take long before the three performers take off their khaki costumes (Olivier Mulin) and truly let go of any modesty linked to human behaviour. Here, on this stage, there is no room for that. They demonstrate different degrees of nakedness and we’re told a tale involving bears and humans which shows to the audience that in the forest, reinvention is possible. At one point, the performers grab torches and light different parts of their body, as if discovering them for the first time. There are no restrictions, which can be both freeing and threatening. By the end of the show, it almost feels like we’re observing animals in their natural habitat.

Although Clio Boboti’s set, consisting of three poles and two black balloons hanging from the ceiling, and Bruno Pocheron’s light design are quite plain, the use of video (Éric Yvelin,  who is also the sound designer), props and the performers’ constant shifting around the stage keeps the show heavily focused on its theme. A chain is produced and there is no denying that it’s a bit too on the nose. However, it is used in a sort of contradictory way: instead of limiting and restraining, here it offers shapes and texture. It’s mostly what it signifies that does the trick and reinforces the animalistic nature of the performance.

The exploration of patterns and the subsequent abandoning of them is what truly stands out. Kaklea, Kotsifakis and Paraskevopoulou coexist, but also thrive individually, each bringing a unique quality and rawness to the piece. There is no pretence, no shame, no hiding. The transition towards the beast within and around us climaxes when the performers climb the poles and rest in various positions, looking calm and ferocious. Though impressive, by the end of the show it feels like an idea has been left incomplete. The style and the performances are there, but there is a sense of hanging, of slowing down and even dragging at times.

It’s not a conventional dance performance by any means, but Αγρίμι (Fauve), with its multidisciplinary approach, is a great example of how to show rather than tell. Deeply visceral and undeniably blunt.

 


ΑΓΡΙΜΙ (FAUVE) at the Lilian Baylis Studio

Reviewed on 31st October 2024

by Stephanie Christodoulidou

Photography by Maria Toultsa

 

 

 


 

 

 

 

Previously reviewed at other Sadler’s Wells venues:

STORIES – THE TAP DANCE SENSATION | ★★★★★ | October 2024
FRONTIERS: CHOREOGRAPHERS OF CANADA | ★★★★ | October 2024
TUTU | ★★★ | October 2024
CARMEN | ★★★★ | July 2024
THE OPERA LOCOS | ★★★★ | May 2024
ASSEMBLY HALL | ★★★★★ | March 2024
AUTOBIOGRAPHY (v95 and v96) | ★★★ | March 2024
NELKEN | ★★★★★ | February 2024
LOVETRAIN2020 | ★★★★ | November 2023
MALEVO | ★★★★ | October 2023

ΑΓΡΙΜΙ

ΑΓΡΙΜΙ

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When Jazz Meets Flamenco

When Jazz Meets Flamenco

★★★

Lilian Baylis Studio

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When Jazz Meets Flamenco

When Jazz Meets Flamenco

Lilian Baylis Studio

Reviewed – 26th November 2021

★★★

 

“But taken on their own, each facet is a fascinating watch”

 

We are a few minutes into the show when renowned Flamenco dancer Karen Ruimy name drops the late Phil Ramone. We’ve just witnessed a smoky rendition of ‘Black Coffee’ that percolates a heady, jazzy atmosphere through the auditorium. We realise, then, that this is an album launch more than anything else. The credentials are impressive. Youth, the founding member of Killing Joke, is the Musical Director, and there is no shortage of virtuosity from the band forming an arc across the back of the stage. Ruimy herself has an intriguing backstory to add to the mix. Born in Casablanca, raised in Paris, she learnt flamenco at an early age. Adulthood found her in the banking world before leaving that to pursue creative and spiritual ventures and continuing as a professional flamenco dancer.

Already an author as well, she adds humanitarian work and philanthropy to her portfolio. Truly a force to be reckoned with, Ruimy brings her steely charisma to the stage. It is not entirely clear, however, which part of her personality we are being asked to focus on. The hesitancy in the delivery suggests nobody is really in control and consequently the show becomes a bit of a free for all. Titled “When Jazz meets Flamenco” it depicts more of a chance meeting between the two genres rather than a combination. We feel they are ships in the night rather than a meaningful romance. They don’t even exchange numbers. The sultry “Stormy Weather” and “La Vie En Rose” barely glance at the fiery bursts of music and dance breaks that feel as though they should be hot footing it into another gig.

But taken on their own, each facet is a fascinating watch; with the flamenco gaining more of the match points. Ruimy is a little short on theatricality, and occasionally short of the power needed to give voice to the songs she has chosen, but her band of musicians and dancers are more than happy to take the helm. Francisco Hidalgo and Francisco Blanco give star turns as the Flamenco dancer and singer respectively; their movement and energy creating the sparks that ignite this performance.

The band certainly feed the flames of passion that the style evokes. Particularly the Spanish guitar which frequently takes centre stage while the backline shifts into the shadows. It is a shame that these moments then give way to a lack lustre “These Boots Are Made For Walking”. Again, we are reminded of the discrepancy of the styles rather than a promised fusion. A mix that sounds fascinating but is not realised. Towards the finale Ruimy concentrates on the traditional roots that are clearly dear to her. And to her credit she refrains from using the evening to plug the album that is being released alongside the live shows. For her it is a labour of love, and she communicates this with an aficionado’s affection for detail.

Two powerful forces are being brought together in “When Jazz Meets Flamenco”. But like reluctant solitary creatures they circle each other warily. The marriage is never consummated and ultimately the heady, explosive hit that the collision could give is slightly diluted.

 

Reviewed by Jonathan Evans

Photography by Ryan Howard

 


When Jazz Meets Flamenco

Lilian Baylis Studio until 27th November

 

Other Sadler’s Wells shows reviewed this year:
Breakin’ Convention 2021 | ★★★★★ | July 2021
Overflow | ★★★★★ | May 2021
Reunion | ★★★★★ | May 2021
Wild Card | ★★★★ | June 2021

 

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