Tag Archives: Lilian Baylis Studio

Company of Elders
★★★★

Lilian Baylis Studio

Company of Elders

Company of Elders

Lilian Baylis Studio

Reviewed – 14th June 2019

★★★★

 

“The strength and beauty of ageing are there, shining through the aching backs and wrinkles, luminous with a shared commitment to truth and dance”

 

This is not a usual dance show, there are no pyrotechnical leaps or astounding lifts, no point work or athleticism. What there is instead is the astonishing beauty of a group of humans in honest, truthful movement and communication, and it is rather wonderful.

Company of Elders is Sadler’s Wells’ resident over sixties company, founded over twenty years ago. All the dancers are at least sixty, and one lady on stage tonight was ninety years old. They are not professional dancers, and they have varying degrees of dance experience. Some only started dancing in their late sixties. What they all have is an openness and honesty of performance, and a willingness to share stories from their own lives. When someone is totally involved in their movement, really living the dance, the result is magnetic, and this evening felt like a lovely celebration of the beauty and spirit of older bodies and souls.

The first piece was Dare I Speak, choreographed by Alesandra Seutin, with costume by Emma Lyth and lighting design by Anthony Hateley. It is based on the short reign of Patrice Lumumba’s short period as prime minister of the Independent Democratic Republic of the Congo, and the way in which people can be elevated and destroyed by others in a second. The piece flows from Lumumba’s inspiring speech to his downfall as dancers transform from admirers into a frightening crowd. It works well for the company, allowing both group and individual movement to tell the story simply and strongly.

The second work was Natural 2019, a piece that demands courage from each dancer, as they share spoken stories of their lives and weave a sense of themselves with dance and sincerity. It is profoundly moving and great fun; not an easy mix to pull off. But they do it so well. A man speaks of his seven year old self, dancing in the living room with the curtains shut. A woman talks of her memories of Pakistan, and her lost language and fragmented heritage. Another woman tells of her titanium spine and other health issues. There is nostalgia and a sense of things lost, but this is no pity party.

The strength and beauty of ageing are there, shining through the aching backs and wrinkles, luminous with a shared commitment to truth and dance. There is sexuality and cheekiness; a huge sense of play and joy. This is a real company, not simply a group of individuals, and their care of each other shines through. Clara Andermatt’s choreography leaves room for the piece to breathe, and for improvisation. Carlos Ramos’ lighting, adapted by Anthony Hateley, provides a simple, effective backdrop to the stories. It is a powerful piece of work.

Company of Elders performed as part of the Elixir Extracts Festival, a three day programme dedicated to older artists aimed at celebrating lifelong creativity. The festival continues with other senior citizen dance groups from around the UK showcasing their work following an open call-out.

 

Reviewed by Katre

Photography by Ellie Kurttz

 


Company of Elders

Lilian Baylis Studio as part of Elixir Extracts Festival

 

Previously reviewed at this venue:
The Emperor and the Concubine | ★★★★ | October 2018
Dystopian Dream | ★★★★★ | November 2018
Layla and Majnun | ★★★½ | November 2018
Tom | ★★★★ | November 2018
Swan Lake | ★★★★★ | December 2018
Bon Voyage, Bob | ★★½ | February 2019
The Thread | ★★½ | March 2019
Mitten Wir Im Leben Sind/Bach6Cellosuiten | ★★★★★ | April 2019
Rite Of Spring | ★★★★★ | May 2019
Constellations | ★★ | June 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com

 

Constellations
★★

Lilian Baylis Studio

Constellations

Constellations

Lilian Baylis Studio

Reviewed – 6th June 2019

★★

 

“some moments are hypnotically step-perfect but others feel confused”

 

Let’s be real: contemporary dance can be hard. Appreciation of it can rely on interpreting unspoken languages that baffle the uninitiated; those in the know can decode it, but for the rest of us it can feel terribly othering, as though on the outside of a cryptic in-joke.

I’d love to say that this piece by emerging contemporary dance superstars bucks this trend. And there are moments of comfort and sweetness; lights soften, a dog potters into the space and greets the audience. Costumes (Curtis Oland with masks by Damselfrau) are impactful, invoking gender-bending jesters. But for much of the night, this is contemporary dance at its most alienating.

The concepts are beguiling, although the artspeak in the programme does nothing to draw us in (e.g. curator Stefan Jovanović states ‘…current research looks at the translation of systemic family constellations and somatic experiencing into dance and architecture’). Part masque, part artwork, part ritual and part village fête (we’re encouraged to attend the ‘Fool’s Market’ (set design Jack Hardy) during the interval to peruse artisanal pieces used in the performance), we’re told that ‘we’re living in a time of need of new rituals for coming together, to affect (sic?) change, to heal’ and ‘it is about sacred spaces and sacred times, the rekindling of community’. Hard to argue with that. But given its lofty intentions, I wonder who this performance is for. Perhaps many members of the very white, often more mature audience are experienced enough consumers of dance to take the more challenging set pieces in their stride (two dancers roaming the stage barking like dogs for minutes on end, anyone?), but for those less immersed these scenes can feel impossibly long and downright baffling.

This is a shame, as there are powerful moments and no shortage of impressive physicality on display. It’s hard not to feel as though the night revolves around Pau Aran Gimeno, whose movement is easily the most entrancing and whose narratives are some of the more accessible. A scene of shamanic ritual, set to a pulsing drumbeat (composer Domenico Angarano), is one of the most compelling, and the swirling metal orb suspended over the stage (created by one of the craftspeople on display) is an effective staging moment. Dancers writhe around more metal structures throughout, and these too promise mesmeric flashes – until occasionally a performer thunks awkwardly against one and the spell is broken. This reflects another issue with the night; some moments are hypnotically step-perfect but others feel confused.

There are also interactions with audience members: more awkwardness. Many of these offer up moments of tenderness; to its credit, this is not a production intended to embarrass its attendees. But the informality of these interactions is also distracting; one game volunteer squeaked ‘what am I supposed to DO??!’ as she teetered on a metal wheel. Indeed.

Dance – nay, any piece of art – doesn’t need to be literal, of course it doesn’t, and in a piece dedicated to carving out ‘a space that is both familiar and strange’ it’s right and to be expected that discomfiture will feature. It just feels as though Constellations, with its promise of humour and warmth, takes fragmentation just a step too far.

 

Reviewed by Abi Davies

Photography by Camilla Greenwell

 


Constellations

Lilian Baylis Studio until 6th June

 

Last ten Sadler’s Wells shows reviewed:
Medusa | ★★★½ | Sadler’s Wells Theatre | October 2018
The Emperor and the Concubine | ★★★★ | Sadler’s Wells Theatre | October 2018
Dystopian Dream | ★★★★★ | Sadler’s Wells Theatre | November 2018
Layla and Majnun | ★★★½ | Sadler’s Wells Theatre | November 2018
Tom | ★★★★ | Lilian Baylis Studio | November 2018
Swan Lake | ★★★★★ | Sadler’s Wells Theatre | December 2018
Bon Voyage, Bob | ★★½ | Sadler’s Wells Theatre | February 2019
The Thread | ★★½ | Sadler’s Wells Theatre | March 2019
Mitten Wir Im Leben Sind/Bach6Cellosuiten | ★★★★★ | Sadler’s Wells Theatre | April 2019
Rite Of Spring | ★★★★★ | Sadler’s Wells Theatre | May 2019

 

Click here to see more of our latest reviews on thespyinthestalls.com