Tag Archives: Adam Gain

Notturnino|Set and Reset/Reset

(reviewed at the Jerwood DanceHouse, Iswich on 30 September)

Anything you can do… That is surely the motto of the Candoco Dance Company which opened the autumn DanceEast season in Ipswich. Notturnino is an affectionate glimpse into the world of opera singers in their twilight world (think Harwood’s Quartet) encapsulated in snatches of Verdi and Puccini, especially La forza del destino and Tosca.

Choreographer Thomas Hauert took the 1984 documenary film Tosca’s Kiss as his starting point; we hear verbal as well as musical excerpts from its soundtrack, clarified for an English-speaking audience by screened subtitles. The six dancers, four of whom are physically impaired, swoop across the stage in leaps, lunges and variations on the classical attitude, emphasised by quick-change theatrical costumes by Natasa Stamatari, all vaguely 18th century in inspiration.

Shortend arms, a wheel chair and, notably, two crutches for a one-legged performer prove that disability is no barrier to virtuosity. That single leg and what almost seemed sometimes like four arms emerged from the groupings with star quality. Hauert makes no concessions in either the ensemble or solo sections to his dancers; they return the confidence full measure.

Trisha brown choreographed Set and Reset in 1983; this has been redirected by Abigail Yager as Set and Reset/Reset earlier this year. The dancers wear Celeste Dandeker-Arnold’s flowing and diaphonous grey dresses and trousers as they singly, in pairs and in larger groupings lunge, leap and spin across the stage to Laurie Anderson’s tintabulation-heavy score, suggesting a sequence of human dramas underpinning the abstraction of the moves which we are watching.

The performers are Megan Armishaw, Joel Brown, Tanja Erhart, Adam Gain, Jason Mabana and Laura Patay. Candoco tour both regionally and internationally so, if you happen to be in a place where this double-bill is being performed, take advantage of the opportunity and see it. You don’t have to make mental concessions – the work sets its own high standard – just as any other modern dance company. Rather, it’s up to the audience’s response to match that of the performers.

Leave a Comment

Filed under Ballet & dance, Reviews 2016