The BA Dance and Drama students from PASS showcase their artistry in two ensemble pieces, created in collaboration with Dance Base.
First up, the cryptically titled YGNEREME. The blurb in the programme talks about grief, collective action and emergency. A single dancer, Clara Browning, moves playfully in a spotlight, but then something changes and she is swept away by the collective. Assimilated, if you like.
There is a pulse-driven techno soundtrack which enhances the feeling of ritual, and of not being quite what one was before – the sounds being machine-like. The rituals we use to navigate grief have ancient roots, and their comfort comes from following a well-established path.
The movements emphasise rhythm and are all about the collective: there are few moments where individuals are highlighted. They behave as a single organism, or a congregation united in worship. Sometimes the movements remind me of the evasive manoeuvres employed by a flock of birds or a shoal of fish, in response to predator. The dancers’ facial expressions, their eyes intense with make-up, feel unreachable, resigned to emptiness.
The fourth wall feels like a physical barrier, a force field separating our world from theirs. It’s a bit like peering through a portal into a 1990s nightclub that has been colonised by zombies. The piece is fascinating to watch, although I would like to see some more marked changes of pace. However, the programme talks about a “relentless shimmering grief” which explains this artistic choice.
The second piece is called Many Slippery Things Are Not Resolved In The End. The blurb tells us that we are reckoning with being a performer in a violent and cruel world. The performers capitalise on their vulnerabilities to create a comedic piece. This group all wear red lipstick, which can be a hallmark of glamour and artifice, but also forms part of the mask of the clown.
The opening sequence emphasises explosive collective movements punctuated by stillness. Then individuals and small groups showcase their own stories, combining movement with spoken monologues. ‘I’m not gonna be dancing. I’m just doing stuff. Coincidentally, there’s a good beat playing too,’ Aaron Chilton-Kidd says, confrontationally, while his movements escalate from the odd shoulder roll to actual jazz hands.
The spoken words sound, to me, like the voice of the so-called inner critic, who stalks us every day, reminding us to stay small in order to be safe. This exaggerated style of black-and-white thinking is the beating heart of comedy. The soundtrack is comprised of pop music with thoughtful lyrics. Some scenes seem to be set in a schoolyard, drawing to mind the fears and opportunities of adolescence. It feels highly relatable.
I loved this piece because it made me, and others, laugh. A lot.
Both groups have demonstrated their flair for storytelling through movement, and their ability to draw the audience into their world. These emerging performers deserve to enjoy long and successful careers.
Reviewer: Wendy McEwan
Reviewed: 11th January 2025
North West End UK Rating: