There is an air of excitement, untapped combustible energy and charge about Dance Base, the home of dance, this month. Dance Base’s offering to the fringe this year is exceptional; a sumptuous blend of performances that satisfy any dance pallet. Spending a day there was like eating at my favourite restaurant, having my favourite dish as well as being asked to try things I’ve never heard of, encouraging my taste buds to be stretched to new limits of yum. Thought provoking, humorous, tear-jerking shows which vary in style, content and essence; the pieces amalgamate into an eclectic family, each right at home with their feet firmly under the rug. The support, nurture and energy that the Dance Base team have for their kin is rooted in paternal instinct. This quality resonates throughout the venue, so no matter what your artistic tastes are, the home of dance will welcome you with open arms, make you feel comfortable and relaxed as you indulge.
Arnica 9CH (my life as a dancer) (*****)
Maud Liardon’s stunning piece examines the idiosyncrasies of a dancer’s life, physically exploring the idioms inherent in training, the psychological experience and the devastating effects that come with “suffering for your art”. Liardon’s fluid physicality moves through the space accompanied by visuals and humorous commentary and food; her demonstration of dance vocabulary will leave you in awe. The concept is brilliant; her sensitive handling of the topic blends with humour deftly carrying you from laughter to tears. Dance colleges across the world need to ask for a visit from Arnica 9CH.
Actions (***)
Irish Modern Dance Theatre’s duet presents a piece dabbling in performance art. The two male dancers (Daniel Squire & Andre Zachery) move through the space with physicality ranging from flailing to finesse. Peppered with obscure moments and juxtapositions, the choreography eats up the space both physically and audibly. Squire and Zachery talk to each other throughout as they perform together and separately. While at times this added a different flavour to what they were doing physically, sometimes silence speaks volumes. ‘Actions’ speak louder than words.
Beta Wave Transport & Bagofti (****)
Jack Webb’s brave solo ‘Beta Wave Transport’ could easily be an installation in a modern art gallery. This compelling work is slightly disturbing; Webb’s strong physicality contributed to a neurotic portrayal of obsessive qualities with idiosyncratic tremors and shakes gradually escalating through the work. A sense of play (rather than shock) gives this work a generous edge. ‘Bagofti’ performed by Gavin Coward is captivating and dynamically crafted. Coward moves with gorgeous fluidity through the intimately explosive choreography by Gary Clarke, which blends powerful moments with intricately detailed mimetic gestures. Add in Coward’s physicality and absorbing performance and you’ve got a tantalising show.
Imprints (****)
Examining the complex emotions of physical, mental and relationship deterioration, Nux Dance Company’s piece is a layer cake of subtle yet powerful flavours, of dynamic qualities, gestural movement and quiet narrative. At times more of a play without words, the episodic choreography moves through the gorgeous simplistic set to an equally gorgeous suggestive soundscape. The duet perform with delicacy and impeccable timing to deliver a piece which is charming yet haunting.
Swimming with my mother (*****)
This piece is beautifully simple, extremely satisfying and excellently crafted. David Bolger and his mother, Madge Bolger, perform together with grace, care and exude the gorgeous quality found in the stars of MGM musicals. He is a contemporary Gene Kelly moving with sensitive strength, flare and compassion. She is Esther Williams. The choreography is fuelled by enchanting recollections, humorous anecdotes and perfect moments which warm your heart and tear-ducts. The relationship, the limitless respect and love between the two, inject this piece with heart-felt honesty. Mums are amazing people. PS: Bring a Kleenex.
Our Oceans are Drowning & This is not a dance (***)
Rosalind Masson’s solo ‘Our Oceans are Drowning’ is an intelligent physical interpretation of climate change and the environmental consequences. Performed to a pulsating echoing oceanic heartbeat, the choreography writhes and squirms, twists and sweeps scattering plastic cups in its path. The imagery of the cups is a perfect partner to the solo. The piece starts strong, but towards the end falls short of impact. ‘This is not a dance’ is a brave, neck-on-the-line piece of performance art. The Ultimate Dancer (Louise Ahl) offers a piece which presents the concept of the dancer as an athlete, as an alter ego and uses the piece to challenge ideas of what is not and what is, raising the age old question: what is dance? What is art? If the performer and person involved in it says it is, then it must be… right?
The Ballet Ruse (*****)
Black Swan, eat your heart out. Can the producers of the movie make a film of this please?? Ten times better and much more effective. Muirne Bloomer & Emma O’Kane have created a piece which is nothing short of genius. They bring humour to unsafe practices, hilarity to stereotype and use exceptional theatrical craft to weave balletic traditions with tongue-in-cheek wit, all of which accumulate to form a piece which is laugh-out-loud but with a harsh message. A tremendous piece, performed with a sense of liberation from the confines of the balletic prison sentence.
Falling Man & Decreasing Infinity (*****)
Performed with haunting physicality, Smallpetitklein’s solo performance ‘Falling Man’ is breath-taking. Tom Pritchard executes the piece with precise abandonment, giving a captivating performance of gritty sensitivity. Pritchard performs Thomas Small’s choreography with emotive physicality, delivering a poignant and thought provoking monologue throughout. Where were you when the towers fell? From Pritchard’s performance I felt like I was there. Mesmerising. ‘Decreasing Infinity’, performed by Balbir Singh Dance Company, is an explosive fusion of cultures. Danced with graceful power, Ezekiel Oliveira and Sooraj Subramanian have the serenity of Jedis. Their force (live rhythm) is very strong in them. Dynamically excellent and excellently crafted.
Silent (*****)
Moving, hilarious and scary, this one man show is a must-see. Pat Kinevane pours himself into his performance of a man recollecting haunting memories, moving seamlessly between fantasy and real-life. This exceptional piece expertly moulds characteristics of silent movies with Irish humour to create deep rooted analogies of the character’s life. Kinevane’s portrayal and delivery is brilliant. With an essence of Norma Desmond-esq qualities, he sustains and captures the audience every minute. Outstanding.
I highly recommend investing your time and money into seeing all eight shows in a day; it’s extreme and indulgent, but surely it’s time to treat yourself? It’s the Fringe after all.
Dance Base, Rolling Programme; All shows 5th-21st Aug, various times (not 8th or 15th).
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