The Place, London
The stage comes alive with a captivating array of bodies, as a group of club kids emerges like modern-day shamans caught in a whirlwind of chaos. This company is known for consistently pushing boundaries and experimenting with innovative concepts.
Matthew William Robinson, the artistic director of National Dance Company Wales, is preparing to take the reins of the Maltese company ZfinMalta, and his segment in this double bill serves as a poignant farewell. Titled “August,” his work delves into themes of “profound personal change,” fostering an atmosphere of uncertainty rather than offering clear resolutions.
A striking strip of red light pulses across the top of the stage, invoking curiosity—could it be a countdown or a metaphor for the fleeting essence of life? By the time the performance concludes, the significance of this light may continue to linger in your thoughts. The ambiance is cold and isolating, heightened by an eerie soundtrack from Torben Sylvest, acclaimed for crafting claustrophobic soundscapes for artists such as Botis Seva and Ivan Blackstock. Solo performers gaze into the distance, perhaps contemplating that elusive light, while tightly entwined duos glide across the stage, momentarily forming a unified presence. The choreography showcases impressive sequences and standout performances, particularly from Niamh Keeling, celebrated for her ability to navigate intricate phrases with surprising stops. Despite its earnestness, the piece ultimately lacks a revelatory moment or an emotionally resonant message, leaving it in search of a greater purpose.
In contrast, “Skinners,” choreographed by the Australian/Javanese artist Melanie Lane, embarks on a more transformative journey. Initially, a group of club kids takes the stage, clad in flowing white robes and adorned in striking outfits by Don Aretino, complete with unconventional hairpieces and facial coverings. Their movements echo mechanical synchronization, reminiscent of a programmed algorithm caught somewhere between ritual and music video, all set to a looping synth soundtrack.
At first glance, they appear faceless, but everything changes as they shed their outer layers and masks, revealing a profound expression of human connection. They share each other’s weight with grace, moving in slow, fluid motions that convey this deeper physical bond. This piece beautifully illustrates the transition from the digital realm to a more authentic connection, even if the concept eventually reaches a plateau. While this evening’s performance may not be the most dynamic, the company consistently brings forth fresh ideas—some will resonate, while others may not—but their adventurous spirit undoubtedly deserves recognition.
The show will run at The Place, London, until October 9 and will continue touring until November 20.
