Hannah De Cancho TU YO
Bricolage Dance Movement Tied up
Big Beef Dance Theatre gaME + YOU
Three variations on the theme of love began with TU YO, a duet exploring the complex emotions of an evolving relationship; characterised by frequent changes of pace, contrasting an adversarial physicality with moments of sensual tenderness. As this charismatic couple (Hannah De Cancho and Sarah Ferris) stumbled towards the final light, they left behind no imagery of memorable dance but a sense of having experienced a lifetime in just fifteen minutes of arresting physical theatre.
Anna Buonomo, an Italian now resident in London, formed the Bricolage Dance Movement in 2005 and Tied up reflects her maturity as a choreographer. The choice of music (Pärt and Einaudi) was especially effective, enhancing the inspirational charm of an holistic work portraying a woman (Buonomo) breaking free from the confinement of her own inhibitions (represented by being bound in a seemingly endless length of rope). It extolled the ideal of 'you are what you want to be'; a fact emphasised by this slogan being written on the underside of a bench. The choreographer was joined on stage by four talented dancers and an actor whose sole responsibility was to sit on the bench and read, while Buonomo remained tethered to his foot.
The programme concluded with a full-on journey to the La La Land of unrequited infatuation. This was played out in a series of games, interlinked by the gradual shedding of clothing and Holly Grayling's hilarious jealousy of her serial ‘player' boyfriend, who didn't just flirt with the three other dancers but also with half the audience! An eclectic score provided the opportunity to mimic many dance duets from well-known films, such as Thurman and Travolta's contest-winning twist from Pulp Fiction, but also taking in B*witched, Morris Dancing and Twister along the way. The Big Beef Dance Theatre is an engaging and slightly bonkers ensemble that seemed sometimes uncertain of what to do next, but nonetheless sent me home, smiling and - rather worryingly - humming B*witched's C'est La Vie.
Graham Watts
Style over substance can mask many a choreographic stumble. Within another Resolution programme centred around the seemingly inescapable narrative of relationships, the success of the evening resided in the dancers' delivery helping redeem them from the monotony of previous performances.
In Bricolage Dance Movement's Tied Up, a couple sit on a bench, rope restrictively wrapped round the girl adjoining her to the boy's foot - providing both a physical and metaphorical symbol of dependency. Temporarily breaking free and succumbing to the lure of those around her, movement was delivered with sinuous technical accuracy, each limb, look and elongation was articulated with conviction. Sophistication and confidence oozed from every dancer - even the lone male that remained practically motionless on bench did so with conviction.
Similarly TU YO's overriding narrative pertained to inter-dependency. Costume and lighting were minimalist, two narrow strips of light illuminated a corner of the stage, a simple canvas enabling the movement to become a focal point. Though slow to begin, interest soon developed as they manipulated and swung one another in dynamic outbursts. Unfortunately this suggested only a brief glimpse into their full physical potential as performers. The choreography would have benefited from more of these energetic moments to maintain momentum. Again the narrative was obliquely obvious, yet the movement consistently professional, if a tad sparse.
A bizarre, yet surprisingly funny culmination to the evening was provided by Big Beef Dance Theatre. Unfolded through a clever, occasionally haphazard, series of party games, tongue-in-cheek duets and verbal commentary, punctuated by the performers assembling in a line to hold up a card signifying different stages of ‘the game'. Later it's apparent they are alluding to the gut wrenching games played within relationships. In this case by a Fonz-like male, who even manages to flirt his way through the audience members. Role play dominated this comedic paradigm, and while that tired old relationship cliché crept in, the charisma and charm of the dancers triumphed.
Fiona Campbell
Hannah De Cancho, TU YO, photo James Rowbotham
Bricolage Dance Movement, Tied Up photo: Valeria Gargaro
Big Beef Dance Theatre, gaME + YOU