Miriam’s review of Happy As Larry

Shaun Parker & Company present ‘Happy as Larry’

COMICAL, ENLIGHTENING, FUN, GREAT AND UNIQUE!

Happy as Larry is an enlightening dance piece performed by Shaun Parker and company. It presents the question what makes us happy? And then answers this through exciting and exhilarating movement that is performed to many different aural accompanists and performed on a creative and wonderful set. The cast of the characters is developed from the Enneagram , a psychological system that maps nine personality types: The Perfectionist; the Giver; the Performer; the Tragic Romantic; the Observer; the Devil’s Advocate; the Optimist; the Boss; and the Mediator.

The moment I walked into the theatre I was greeted by one of the company drawing figures of the audience on a chalkboard block. It was intriguing to watch and helped to set the scene for what was going to be a unique and crazy piece.

There was a variety of movement performed in the piece such as ballet, break-dance, roller-skating, jazz and highly physical contemporary dance. It was very entertaining as there was such variety and moments where we did not know what was coming next creating positive tension and excitement with the audience. It also meant that there was something for everyone! A lot of the movement involved travelling and also static and robotic moves which added funk and intricacy.

Solos, duos, trios and group sections made up the piece and really helped to present the idea of having our own personalities but alongside each other as we may all be different but these differences help us get along.  It was all so interesting as one minute there would be a dancer performing amazing pirouettes and the next minute there would be a roller skating man flying around the space. There was also gestures used by one of the dancers for comical effect. What was incredible though was the focus of the dancers as it was brilliant, even when the audience were laughing which was intentional they still kept in character and this really showcases their professionalism. There was also exceptional gymnastics that leaves you shaking your head in astonishment! Similarly ball skills were shown with the basketball prop and also there was reference to ‘old skool’ dance moves which was combined with funky and great music that reminded me of an upbeat exercise video-it was mesmerising!

Moments were soft and slow and some were faster and more abrupt which created a fun and vibrant atmosphere that left you wanting more.

The set for ‘Happy as Larry’ was immense and contained a chalk board that was used throughout the piece as the dancers would draw and write on there. There were drawings of people, a symbol of no mobile phones and also a light switch which when the dancer touched altered the lights. It was very creative and clever. Similarly writing was used to communicate between the dancers without speech. The writings also allowed the audience to know what the dancers were saying, some of which was comical and made us all laugh out loud. Also there were moments where  one dancer would draw round the other dancer with the chalk and follow their movements. There were moments where the dancers would follow the beat of the music. For example if it was a sharp and jagged beat then this would be drawn. Similarly if it was a softer music then the lines would be curved and less harsh. All in which helped create a piece of art in itself. It looked sporadic and like graffiti-certainly my favourite part of the piece.  Other elements included the balloon arch and a basket ball that all helped set the scene and present the different characters.

There were spotlights and general bright lighting which helped to the audience focus on the stage and could also  represent happiness!

The music was really well chosen and really lived up the standard of the movement and the set. It was really fabulous as there was a mixture of tempos which helped create many moods. There was also clapping as the dancers celebrated each other as part of the story, this really made the audience feel included in the show and well… happy!

I have to admit though I was so focused into the piece that I would not be able to tell you which sections reflected which characters or what movement correlated to the stimuli as the piece was so engaging and fun. I feel that it was an easy going piece that allowed you to be transported elsewhere and just let go!

Overall I would thoroughly recommend going to see this show as it touches on a topic that we could all do within lives! But when you leave the show it does not end there, you get a quirky badge and memories of a superb show!

Miriam’s review of Desh, by Akram Khan

Thursday 6th October 2011

Akram Khan Company: Desh (homeland)

FANTASTIC, EXHILARATING, ENGAGING AND MOVING!

I have never been to Sadler’s Wells inLondonbefore but I have heard about its amazing reputation. This made me  very curious and excited to when I found out I was going to see a performance. However it was not just any performance it was Akram Khan who I have never seen but heard from many about his tremendous work. I feel it was an honour to be able to  see him dance alone and for it to be my first time ever seeing him without his company meant I could really listen to his story. Although I am sure his company are just as phenomenal. 

Desh (homeland) is an 80 minute solo performed by Akram Khan who is an internationally acclaimed and exceptional artist. Desh is said to be one of Akram’s most personal works where he seeks to reconnect with his cultural roots. The choreographic intention I feel was to explore Akram’s identity at present inEnglandand within his past which is of  traditional Bangladeshi heritage and which his father was adamant to drive in.

 It almost felt like we should not be there as it was such an individual journey that was so personal and deep. Also even though, to create this piece he worked with collaborators for music- Jocelyn Pook, lighting-Michael Hulls, for writing and poetry- Karthika Nair and visuals- Tim Yip and also went on a trip to Bangladesh for inspiration he could only ever really experience this on his own as he is the only one who knows who he really is. Perhaps this is why it was a solo as no one else could portray such a personal story.

A glowing green light is present when you walk into the theatre which  helped set the scene. It can link to nature which suits this piece as its about those roots that make us who we are. Dramatically this light changes as a bright light comes on which is in direct correlation with Akram who appears slamming a slab with a hammer violently. He looked angered and like he was taking out his emotions on the slab. This can show that he did not want to go toBangladeshinitially as he said he was British and never really cared forBangladeshbut then throughout the piece he realises that this trip is needed to find out who he really is through seeking his roots.

Akram used reaching, travelling , his head, arms, throwing movement, break dance, traditional kathak, martial arts, contemporary dance and spins to explore his cultural identity. All of the actions linked to searching and confusion as he tries to find his identity in a place he did not really want to visit. The movement was varied and really helped to present the story as there seemed like there was a structure. So a beginning where Akram is reluctant to explore his roots, a middle where he is finding out about himself inBangladeshand the end has a poignant climax with Khan’s father leaving a message that is on repeat. Khan continues to emote and we think that his father is dead and the whole reason for the trip is for him to go and see what his father wanted him to experience and also to bring back his father’s dead body. But actually his father is not dead. Khan used this fictional device as it allowed him to imagine what it would be like if his father did die and he did not fulfil his father’s worthy pressures. Its a deep stimuli but allowed Khan to look into his heritage, politics, science and what the future now holds since he has discovered part of his identity.

Gestures are used by Khan to tell stories  to the imaginary characters of a little girl (his niece) and a student activist. It really added to the whole Mise-en-scene as it felt like the audience were there inBangladeshwith Khan in the larger story of his life exploring sensational and controversial ideas. Such as in the section where it was like he was in an amazing jungle that was full of trees, animals, bushes, birds, rain, water and nature which was designed by Tim Yip. The music for this section was by composer Jocelyn Pook and was of jungle noises which consequently made you really feel there within the Indian jungle. The controversial ideas were not of Khan but of what happens inBangladeshwith the twelve year olds working at call centres and the independence war betweenBangladeshandPakistan. Khan explores these areas and expresses perhaps reasons why he did not want to explore his culture that could be tainted by social conventions.

What was really great about the piece was the variety of aural settings, with music and spoken voice it really created so many different moods which can link to the way Khan was portraying several different characters such as himself, his father, an old man and his niece etc. It helped keep the audience on their toes as they were on an expressive journey that helped Khan discover who he is. There was also direct correlation between Akram’s movement and the music, but also sometimes Akram’s movement would initiate the music and set change.

I was not expecting the humour and spoken voice but it was a great surprise. I also was not expecting such a wide variety of movement, it was truly sensational and breath-taking to watch.

The set throughout the piece changed constantly but would vary between being simple and being extravagant which meant the audience could experience many different moments where we were taken away to another place.

I feel that the lighting such as the spotlights and different colours created new emotions and helped Khan to fill the space with movement and performance. Shadows were also used especially in the jungle section but also when Khan was walking around the space and when he was behind the big chair. The chair section  supported the story telling culture ofBangladeshas Khan made you really believe he was not alone.

Overall I thoroughly enjoyed the piece and I felt that I really witnessed an incredible journey for Akram. However I feel that the piece in general helped touch on an issue about our roots and that we should not take them for granted. We should embrace them as they are what builds us!

Miriam’s review of Ludus Dance, Consequences

Tuesday 29th March 2011- Solihull Arts Complex

Ludus Dance and Nuffield Theatre Lancaster present Consequences A Triple Bill Dance Production

Surprising, exhilarating and wonderfully interesting!

Ludus Dance is the leading dance company for young people and first-time audiences in the UK. Ludus Dance is part of the Lancaster Arts Partnership which was formed in 2009. It is a “consortium of companies working together to champion and promote the strategic development of excellent arts activities in the Lancaster District”.

The title to the whole piece, Consequences  provided me before I even went into the theatre with an idea about what I may be watching however nothing could prepare me for the amazing things that I witnessed. Also the word “triple-bill production” gave me huge pleasure as I was excited about the thought that I would be getting more than just one performance. One performance is brilliant however this discussion of three was thrilling and magnificent.

There were three different sections to the whole overall piece, each of which were choreographed by three different choreographers including: Nigel Charnock, Yael Flexer and Ben Wright, whom of which are three of the UK’s most established choreographers. There was also at the end a group of young dancers from the local community who performed a dance as part of Ludus Dance’s community work with young people which was a wonderful way to end the show as it showed where dance can start. This is because we were seeing different stages of dance development from the members of the company skill to the young people’s who, were at the start of their journey’s, perhaps even onto the way to professional dance. Each piece was individually different and breath-taking.

The first piece choreographed by Ben Wright called ‘A Four’ was at first confusing as I was a little puzzled by the sheets of paper all in rows across the stage which were actually there  to symbolise that “a blank page is full of possibility”. I know we as an audience can interpret what we see which is a magical part to watching dance performances although I really did not understand. However during the interval I read the programme and started to absorb the themes presented! At first I also thought the dancing was a little average and nothing blew me away but as the piece went on I started to see abstract dynamics and creative and imaginative concepts. This particular piece was focusing on the question “what is the upshot of using our imagination” and that all events have beginnings and for “every step in life, there is an outcome” (a consequence). It also focused on that our “mere” being on earth can change things! Overall this piece introduced the show well and the throwing of scrunched up paper balls into the audience was especially something I didn’t expect but loved as it put a smile on my face like so with the dancing. This section was to symbolise that when someone throws something to you then surely it’s an invitation to respond? This piece helped set a high standard for the dance that was to follow and made me laugh making it a memorable piece.

The second piece choreographed by Yael Flexer is called ‘What If?’ It was a really interesting piece that showcased the theatre aspect to the whole performance. There was clear speaking when the four dancers took to expressing through voice which as a dancer can be a challenge as we are so used to expressing words through movement.  This can show that having a drama or speaking experience/background  can impact hugely and help within other art forms like dance which can  make you a versatile artist . I liked this twist and the conversation with the audience the dancers had because the context of making decisions for a show, conflict between the dancers ideas, the impact ideas have on others and the show and the questioning about whom does this piece actually belong to, really helped me to think beyond the movement and read with ambiguity! The dancing, reciting of poetry and dancers being ignored was comical as it was all part of the show and helped to break the conventions of a normal dance piece. It was different… and I enjoyed it!

The last piece performed by the company was my favourite as it was chaotic, innovative, original and mad! It was choreographed by Nigel Charnock and was called ‘Pandemonium’. I mean even the word Pandemonium suggest and provides the audience with an insight into what we were about to see as pandemonium is about the atmosphere being wild and noisy which, this piece certainly was as the music blasts and the crazy and wonderful clothes and wigs came out! This final piece was comical, fun and exciting. I was in my seat not knowing what to expect next. This thrill provided me with adrenaline and pure elation leaving me wanting to get out my seat and dance. The piece is about delving into the lives of four people whom are wanting to find out who they are, a question quite commonly asked by people to themselves. It’s also about the four people getting what they want as soon as possible which may be why it was so fast, upbeat and I couldn’t take my eyes off the stage. This piece had up-beat music from the likes of Elvis Presley and The Pussycat Dolls which sound like an odd combination however I can say it worked brilliantly well and the music complimented the movement.

Overall I really enjoyed the piece and feel there was pure energy, emotion, enthusiasm from each of the brilliant dancers and there were creative moves from styles of contemporary, jazz and ballet which were performed to a high standard of technicality. Some of the lifts and moves being performed were great and provided others in the audience and myself with immense inspiration. At first I wasn’t so sure nonetheless the piece  was mind-blowing and fabulous. I would not watch it again as I feel that watching it when knowing what will happen next could spoil the on the edge of the seat moment that I felt throughout although I would thoroughly recommend it for people to go and see as its nothing like you would expect!

AJ’s Review of LOL (lots of love) by Protein

On Wednesday the 8th of march, I myself was fortunate enough to get a ticket to see Lol by Protein at Warwick arts centre, a piece that I had been told and recommended to go see by a number of different people. I myself had heard a little about Protein as a company but not enough to really know what I was going to expect and for once didn’t research and kind of went in with a open mind just knowing that the piece was loosely based on the internet and social networks.

The company consisted of 6 dancers, 3 female and 3 male which from reading the program saw they all were taught at places like Northern or Central school of dance. All were of different ages from what I can gather and from watching them, much of had a great idea of how each other moved.

I could see and imagine how the stimulus of this could create a piece of work that would be interesting and thought provoking but really didn’t expect the level of work that was created. The set of simple plain with 3 large rectangles hanging from the ceiling to the stage positions at the rear of the stage which were used mainly to project onto as well as a place to come on and go offstage from. This was used effectively as transitions, using videos to piece sections together as well as a canvas for shadows to be created on which added another element to the piece, but these small factors were really the icing on the cake to this piece as the movement and dialogue was at a standard I really haven’t seen live anywhere else.

They used dialogue as if talking to the audiences so I guess that would be classes as monologue form, but while they spoke to us they were being manipulated and moulded, flips, lifts and turned here there and everywhere. The thing that amazed me the most was the way they were able to do this without making the monologue sound unnatural, scattered or staggered, it was fluid, as if they were just standing on stage but the fact that a guy would jump at them changed nothing, no massive inhale of breath, nothing, as if it didn’t happen. This combined with intricate footwork and contact work at times kept me properly rooted to my seat.

As a dancer it nice to see dancers acting and acting well, sustaining the character all the way through their movement and properly portraying characters that are believable. It can’t be easy but I guess in such a competitive industry, being talented at many things and creating works which combine dance with physical theatre and contemporary dance draws in audiences for many different reasons.

Lastly I found it refreshing to see a performance which was actually funny and light hearted at time which quotes like “It doesn’t matter if he’s disabled, he probably will have a nice personality” sticking in my head. It’s rare that a I see a performance that isn’t meant to shock, scare or open my eyes to something but just be light, humorous and demonstrate great theatre, and this has done that and more. I’ll be looking out for more stuff by Protein in the future for sure.

AJ’s Review of Danish Dance Theatre

On the 25th of January I was fortunate enough to get the chance to see Danish Dance theatre do a showcase of 3 pieces at Warwick Arts Centre.  Enigma; CaDance; Kridt were the pieces they performed and showcased 3 very different and yet engaging pieces of contemporary dance, each being powerful and technically strong.

The group of 8 dancers, 4 male and 4 female you could tell were honed and had gone through rigorous training and rehearsal to churn out 3 pieces to the quality they did. Staging was great, as they used spotlights, and different coloured lights to portray the feeling of loneliness or just to highlight a particular move on stage. Black board and chalk was used to create more visual stimulus and was used well but at time I felt they could have been a little bit more inventive and at the end of Kridt sand poured down onto the stage which did look utterly amazing but myself I couldn’t understand the relevance of it.

Personally my favourite piece was Enigma, a piece which look at the idea of puzzles and a fuzzy existences, but the reason I enjoyed it the most was just the duets connected and work with each other so smoothly, also parts of the duets were improvised which I didn’t realise until the end which made it even more impressive as I had no idea, it looked choreographed and you can just imagine how much of a connection and chemistry the dancers must have with each other.

At the end of the show I was able to go to the post show talk with a couple of the dancers and the one thing that surprised me is the knowledge of the dances they had just performed, now yes they are dancers and amazing ones at that but it kind of felt like they were just bodies. Having input into the dance at points but ultimately just vessels to mould on and as a young dancer myself found that interesting.

Overall an awesome show, very abstract but great visually and technically outstanding.

Miriam’s Review of Danish Dance Theatre

Tuesday 25th January 2011- Warwick Arts Centre

 EXPLOSIVE, DETAILED, EXTRAORDINARY AND SUPERB!

Danish Dance Theatre ‘Enigma; CaDance; Kridt is a mind-blowing piece performed by one of the top contemporary dance companies in Scandinavia.  Artistic director Tim Rushton’s choreography combines and fuses classical lines of ballet with the power of modern dance.

The ninety minute piece is split into three separate pieces each performed by the same and different dancers, both women and men all from the same company.  In the theatre I was quite close to the stage, this provided me with an intimate feel and provided me with the chance to see every raw moment and facial expression. However, wherever you were in the audience, due to the dancers performance skill and projection you wouldn’t miss a thing.

 

Each piece was individually amazing. The first piece was called ‘Enigma’ and was performed by a mixed gender. It was focusing on a stimulus of a mechanical encryption machine used by the German military during world war two.  The machine concept used was, to help us understand the right codes to understand what is directing us. The second piece was called ‘CaDance’ and was performed by five male dancers in an “exciting testosterone-fuelled competition”. This piece was based on how in prison yards the convicts strut and pose. Used here was musical visualisation which means the live drumming which made the piece stand out was the response to the movement. And last however no matter the least was a piece called ‘Kridt’, this piece was focused around a man who is on the verge of death remembering his life, love and losses as told by the men and women he has known. All three pieces were not only sensational through the advanced technicality and creative and original moves but through the spine tingling emotion and use of breath in each. Each time a move was performed the intricate detail sent shivers down my spine. It was just spectacular and left me with my mouth open in absolutely awe.

I believe male dancers have a natural energy that is phenomenal, the way they can jump so high still staying central and balanced, the way they move so brilliantly with such passion. The women as well showcase  dedication, accuracy, energy, enthusiasm and fire which they certainly delivered this evening.

There was repetitive moves in each piece so like a compulsory move the dancers all came back to which can make impact as the audience then know and can understand the significance of that move  and what it means  because especially with contemporary dance its the telling of a story.

There was not just the surprising and fabulous  live music, there was also sombre talking by two of the female dancers at in two different parts of the final piece ‘Kridt’. It was in a foreign language which, like dance I believe can be beautiful  in its own right therefore this language element provided the audience with something different, an eye on culture and Rushton’s extraordinary imagination.

The contemporary dance performed was full of emotion and expression of the themes. It was not just movement, the stimuli’s came to life on the stage through the dancers, music and staging. It was beautiful and provided me with the chance to interpret say what the chalk board and falling sand meant in the last piece.  Was the chalk board the distraught man’s life in stages and the sand a symbol of the end of life or bursting as you cannot hold it in any longer; I believe so, others wouldn’t that is why dance can be so free!

Overall I left the piece full of inspiration and feeling ecstatic that I’d witnessed such an memorable and glorious portraying of art. I was a little confused by the themes and stories told through the movement however the short intervals between each piece allowed me time to reflect at what I had just seen ready for the next performance. I believe through further experience of watching performances I will be able to read the movement which much more of an insight.  

I had a fantastic time and I adored the piece so much so I purchased the CD and DVD afterwards! Right off to listen to the CD, so excited!

 

 

 

 

 

 

Havana Rakatan Review, by AJ

 

I’m not going to lie, in the first instance I wasn’t really excited about seeing this, I mean, in the last two I knew what to expect and its something that I have enjoyed watching in the past but this show I knew nothing about and really didn’t know what to expect. I was also I different style of dance that I have never seen before so as you can imagine I didn’t build my hopes up for a stunning show but as you may of guessed already, it was amazing and I should of realised it would be from the review that I had seen of it.

Set was simple and as well as the dancing there were live musicians to accompany it who were very much part of the performance themselves as they moved round the stage and lit up the audience with the infectious smiles and brilliant playing skills. Two other performers were singers and not dances and gave a great element for that live feel and you heard everything from them themselves. It just brought everything more you life added to the experience and quality allowing us to be engrossed and pulled into the performance itself.

The Dancers were amazing, physically and technically and the way they set of their performance as in the sections and how it was presented allowed it to be enjoyable to everybody. They did it so that the first half was a story that you had to read into to be able to understand. It was about the rise of Cuba with colonised and then onto slavery etc etc. Quite easy to understand and not shoved in your face so you did have to think a little, and then the second half was just dance for dance sake, which again was nice to see them play characters and then just enjoy dancing. Great lay out in my opinion with both halves being fantastic.

Great show, has opened my eyes to a whole new style and taught me to go and see things that I know nothing about cause they may be surprisingly good.

Miriam’s review of ‘Dancing the Ramayana’

Sampad presents ‘Diwali: Dancing the Ramayana’ was a breath-taking and high-quality production.  The dancing was mind-blowing and passionate and the strong movement really provided justice to the ancient story of The Ramayana- the story of Rama and Sita. It provided me with an insight into the South Asian culture, leaving me informed, amazed and impressed at the high standard of dance, technical ability and the beauty of South Asian dance styles.

The traditional music added to the ambience and really complemented the dancing, the costume was also traditional and so beautiful. They take their costume so seriously and this thought and effort makes you smile.

The show was not just about the movement. The costume, music and spotlighting were also crucial elements. However sometimes sadly these intricate technical skills are lost within the audience who only see the movement.

I have never seen Bharatanatyam before so it was very exciting to see Chitraleka Bolar and her students perform. Let me tell you I was not disappointed. The delicate and intricate hand gestures are so amazing, complex and detailed. I have done a workshop with Sonia Sabri so I have tried the other South Asian dance style of Kathak which was a challenging yet different and wonderful experience.

This evening I preferred the Kathak dance, not because of having experimented with it, but because I liked the travelling and energetic stage presence. Chitraleka Bolar’s Bharatanatyam was still energetic though through the soft and beautiful gestures.

What I loved overall was the BIG eyes, that kept focused and drew you in throughout the show. From being in an Asian Dance Company myself, I have learnt that the eyes can make a real impact as they grab your attention and then you are hooked therefore follow every movement performed. I felt absorbed into the dancing and I could not take my eyes off the dancers and was always wondering what would happen next in this journey through culture.

Overall a moment that really stood out for me was when Sonia Sabri who was performing Kathak span around so quick, before you could even take another breath. It was sensational and made me see how talented the dancers in the whole show were.

I left the show filled and bursting with inspiration and I just wanted to dance and take away all the different themes, styles and movement ideas and turn them into my own thing.

DJ’s Review of Mobius ‘Such Is Life’

On the 5th October 2010 I watched a Mobius Dance production at Warwick Arts Centre, Such is Life. As I entered the theatre I immediately saw the set that was to be used throughout the performance.

The set was made up of white boxes. They were different shapes. For example there were cylinders, ½ cylinders, bridges, cubes and 3-D triangles. Later in the piece the boxes were used as household objects, stairs and at one point even all piece together to create one large 3-D object but at the very beginning, as the audience found their seats, a woman was sat on a box doing, what seemed to be, winding imaginary thread around her hand. She repeated this gesture over and over again until the piece was about to begin. This not only gave the audience to watch before the definite beginning of the performance but also set the pace for the majority of the piece.

There was no obvious pattern in makeup or hairstyling. All dancers had a natural look about them and hair up in ponytails or curly and down. The costume itself was quite simple. All dancers were wearing everyday clothes that were also easy to move around in. For example, one of two of the women was wearing leggings and flowing tops. Both male dancers were wearing shirts and trousers which reflected on the fact that later on there was to be a surprise birthday. This made the dance easier to relate to as the costumes were what you would expect to see on the street today.

I really liked the accompaniment used in the piece. It began with just a pulsing bass drum and cleverly developed into a futuristic mix of sound effects. I noticed midway through one of the tracks that some of the sounds being played were pre-recorded by the dancers. There were small clips of words such as ‘messy’. This was skilfully put together. I say this as at every point one of the female dancers said a line such as ‘We can’t have it messy. I just want to keep it tidy, you know’ the pre-recorded voice would echo her line in snippets such as the word ‘messy’. As well as pre-recorded sound, there was found sound. Found sound is the creating of sound through the use of the body. For example, stamping, clapping, clicking etc. The fact that you could hear the found sound so clearly added to the intimacy of the piece. In addition to this the dancers addressed the audience when delivering lines as if it were not only a dance but also a drama. This caused me to be more engrossed in the piece as it felt as if they were to talking to me and me alone.

The use of lighting was moderately simple but effective in most parts of the piece. At a few points it was made obvious that there was tension between the characters. For example at the stage when two of the friends seemed to be having a small argument and to support this there was a dull white wash shone from stage left and stage right giving a range of shadows. This also helped embellish the movement of the dance itself.

Throughout the piece I was trying to figure out what the stimulus was or what it was about in general. I couldn’t come up with a specific stimulus however it did seem as if it was about relationships in a broader sense. I got this impression through the amount of contact work and gestures used throughout. For example one of the couples were constantly hugging and creating found sound of ‘awww’s’. It seemed to me as if the characters were made up of two couples and a friend.

One part of the dance that really stuck out to me was when a woman in one of the couples was explaining to her friends how she was going to make the perfect pie for her friends surprise party during which a man, who I thought was her boyfriend, was making sarcastic faces behind her back whilst making big, comedic gestures, though whenever she turned around to ask for his opinion on her cooking skills he would completely change his facial expressions to ones of love and comfort and reduce the size of his gestures. This had the whole audience laughing for the reason that that is how relationships really are in general; you get annoyed and may do things behind their backs but you turn around and love them still.  Over all the piece was truly inspirational and I would definitely suggest to others, of all ages, to take the time to watch it.

Danni’s review of Blaze

Blaze – The Street Dance Sensation

On Friday 8th October 2010, a friend and I went to see “Blaze – The Street Dance Sensation” at the Birmingham Hippodrome. Upon arriving at the theatre I was shocked by the amount of young people that were there to see the show. Rowdy 7 to 20 year olds dressed in tracksuits and trainers – a complete opposite of how I have always thought of theatre etiquette.  Our seats were better than expected, although being right up in the gods, they were very central and provided a good view for the show.

The performance included the runners up from top dance competition “So You Think You Can Dance.” Who – despite their fame from the BBC broadcasting and performing solos within the show – did not appear to stand out from any of the other dancers. The company showed a range of skills from breaking to tap dancing, and although the technique wasn’t as strong as that of a jazz or contemporary dancer, they did not fail to capture the audience through performance. Freestyle solos at the end of the show made clear that some of the dancers had a much wider range of skills from different genres of dance that they were not able to apply in the Blaze show.

The choreographic ideas were brilliant, a lot of creativity and intelligence clearly went into the production. A dance based on the use of a Nintendo Wii console particularly grabbed the audience. The majority of the dances showed tight timing and a match between dances, but some just conveyed a weak technique – only noticeable to someone who has been through mass amounts of dance training.

The biggest disappointment was the audience, which therefore, created a bad personal viewing of the show. Due to the free ticket system, young people took full advantage to scream every time a performer walked on the stage or started to dance – which proved quite annoying for someone who wanted to observe choreography and technique. People moving seats and walking across rows every five minutes lost audience focus and frankly ruined the atmosphere.

Taking everything into consideration, it was a good evening and the show was inspiring but could’ve been improved by being more careful of the audience.

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