The Triple Bill at The Patrick Centre, DanceXchange, on Friday 2 October showcased three performances from West Midlands-based talent…and turned out to be a night full of promise for the region’s future in contemporary dance.
Table Football Club – WHO ARE YOU WATCHING?
When the audience arrived in their seats ready for the dance performance they’d come for, they shuffled uncomfortably as two women announced at the front they were going to do some market research and it would only take a few minutes. But it soon emerged what Kate Mason and Claire Cunningham were actually doing at the beginning of Friday night’s Triple Bill at the DanceXchange, was introducing their own performance –which is founded on the view of the audience.
They asked questions such as “which is the right version,” and “which do you find aesthetically pleasing,” followed by each dancer performing the same move and the audience voting for A or B. But there’s something I should probably mention about this piece, a work in progress which started at Dancebase, Edinburgh – Claire is on crutches.
After the ‘question/answer’ session was over, Claire and Kate took to the floor. Your eyes were immediately drawn to Claire’s unique interpretation of the dance, her own movement vocabulary – the variety of her shapes and fluidity of starchy movements which were immediately more appealing than Kate’s comparative plain contemporary dancing.
But the performers once again broke the fourth wall – and began a conversation with each other about who the audience would be watching while they were dancing. The piece was full of self-awareness and was undeniably funny – turning preconceived ideas of what the audience find appealing to the eye on their head. Kate Mason’s piece is an assertive glare-eyed gaze at the audience itself – challenging our perceptions about dance, conventions in contemporary and making fun of the elephant in the room – or in this case the penguin.
LAURA DREDGER DANCE COMPANY – UNTITLED
Laura Dredger’s quiet, contemplative piece continued a theme of self-conscious dancing. Occupying a square of white light, her precise, tender movements were both measured and mesmerising.
The tone of the dance resonated with sadness. Laura drew a series of perfect lines in the air with flat hands at different levels, punctuated by swift round arm circles and slow lunges.
Laura spends much of the dance with her back to the audience – which offers a new perspective and increases the feeling introversion. But to be truly captivating, the piece needed more variety in pace and changes in dynamic and travelling across the floor.
At 28, this Laban-trained dancer is full of promise – her choreography is special, making you want to contain it and take it home. Although this piece was clearly suited to a solo, a group dance might be the next step.
KENEISH DANCE COMPANY – ME 2 YOU
The presence Keisha Grant maintains on stage – from start to finish- is what marks her out in this triple bill as an exceptional dancer. This piece, her first choreography for a duet with herself and Sean Graham – draws out the best of both dancers, and this young West-Midlands born talent is the one to watch.
The dance explores the potentially sexually but possibly platonic relationship between two people – starting with the two in ying-yang foetal positions sliding slowly across the floor. The moment feels tender and childlike – drawing the audience into a private moment. The entire dance continues in this manner – with soft embraces and beautifully lined counter-balances – you feel like you are witnessing something otherwise reserved for two people.
Set to Thapelo Knomo’s African drumming, the middle section of the dance erupts with the utterly expansive range of styles. Keisha mixes heel-hitting tap steps, circular contemporary leaps and low-stance jenga sequences from capoeira. The African diaspora influence shines through the choreography with playful dance conversations between the couple. Sean Graham’s hip hop and breakdance background adds a fresh feel to compliment Keisha’s training – but his form has less technical precision than her expressive movements, and if they are to dance together again they will need more practise to get used to each other’s bodies and timing.
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Friday was a great night out. I’m in agreement with the well writen review above. For me, Kate Mason and Claire Cunningham’s show stood out. The “duelling banjos” sequence was great fun: they captured a really funny sense of rivalry that had me laughing out loud. Their “what the audience is thinking….” diologue also gave food for thought about how we as an audience can come with our own bias and prejudices to a show. Cheers, Patrick.
Thanks for your comments Patrick – Kate and Claire’s work definitely did get you thinking and challenged the audience perceptions. Good to know your thoughts.