Dance: Chaos, transformation and rebirth

Bogotá
director-choreographer Andrea Peña
performers Nicholas Bellefleur, Charlie Prince, Jo Laïny Trozzo-Mounet, Marco Curci, Jontae McCrory, Erin O’loughlin, Francois Richard, Frédérique Rodier, Chi Long
lighting Hugo Dalphond • sound Debbie Doe
sets Jonathan Saucier, Andrea Peña
costumes Jonathan Saucier, Polina Boltova
Sadler's Wells East, Stratford • 2-3.Oct.25 ★★

Kicking off this year's Dance Umbrella festival, a month-long series of events online and at venues across London, this 80-minute show was created by Colombian designer-choreographer Andrea Peña and her group of artists to explore her nation's political and spiritual heritage. This is a difficult piece, challenging the audience in ways that feel oddly impenetrable. Intriguing ideas about indigenous cultures, religion and colonialism emerge continually, but everything about this show feels indulgent.

That said, the nine performers are remarkably committed, putting their whole bodies into the nearly naked choreography. Much of this involves moving around the stage in eerily fluid slow motion, initially clad primarily in G-strings and kneepads, sometimes interacting with each other with lifts or as groups pulsing together. There are echoes of synchronised choreography here and there, including a couple of full group moments. But most of this piece features individual expressions, including a series of rather random changes into clothing that is unusually ill-fitting for the dancers.

The stage is as deconstructed as the costumes, with scaffolding, netting and plastic sheeting scattered around. Dancers clamber up the frames, slide slowly across the floor and languish around the edges. At one point, two women bind themselves together with a long cord and have a slow-moving tug of war. Elsewhere, Peña herself appears after a black piñata is bashed into pieces, mopping up the mess with the Colombian flag. This feels somewhat on-the-nose, as do dancers spinning around with middle fingers raised defiantly.

Throughout the show, the sound mix is an escalating rumble with occasional rhythms and vocalisations, while the tone of the dancers shifts more broadly from joyful smiles to sulky glares. It's all rather mesmerising, and the skilled physicality keeps us watching with interest. There are elements that cleverly tap into the scope of history, mixing symbolism with literal expressions to explore how societies transform over time. But these ideas become increasingly elusive, especially in such a cliched industrial setting.

For details, DANCE UMBRELLA >

photos by Kevin Calero, Félixe Godbout Delavaud, Andrea Peña, Antoine Ryan
2.Oct.25

Critical Week: Ready, aim, fire

Things are definitely cranking up in London as awards season takes over screening rooms across the city. Many of the big hitters from recent festivals are being screened for those of us who vote in various awards. There's not a free evening in my diary for a few weeks. After a clash prevented me from attending the only press screening of Paul Thomas Anderson's One Battle After Another, they made public showings available, so I was able to watch it in glorious VistaVision this week. It stars Leonardo DiCaprio, Benicio Del Toro, Regina Hall and Chase Infiniti (above) and is a thrillingly entertaining rollercoaster ride.  

BEST OUT THIS WEEK:
Urchin • The Smashing Machine
The Lost Bus • The Shadow's Edge
Scared Sh*tless
PERHAPS AVOID:
Him • The Ice Tower
ALL REVIEWS >

I also caught up with Richard Linklater's Blue Moon, in which Ethan Hawke gives a superb one-man-show kind of turn as legendary lyricist Lorenz Hart. Riz Ahmed and Lily James are excellent in David Mackenzie's nerve-jangling and smartly twisty thriller Relay. Marlon Wayans and Tyriq Withers give it their all in the horror thriller Him, but it never amounts to much. And Malcolm McDowell turns up in The Partisan, the intriguing but dryly told true story of a female Polish spy (played by Morgane Polanski) working for Britain during WWII. I also attended live performances of the disco-tastic KC and the Sunshine Band musical Get Down Tonight at Charing Cross Theatre and Andrea Peña's rather elusive Bogotá at Sadler's Wells East.

Films this coming week include George Clooney in Noah Baumbach's Jay Kelly, Idris Elba in Kathryn Bigelow's A House of Dynamite and Diego Luna and Jennifer Lopez in Kiss of the Spider Woman. The 69th London Film Festival kicks off on Wednesday with Rian Johnson's Knives Out whodunit Wake Up Dead Man. And there's a live performance of Ghost Stories at the Peacock Theatre.

Stage: That's the way I like it

Get Down Tonight
The KC and the Sunshine Band Musical
music and lyrics Harry Wayne Casey
book JF Lawton
with Ross Harmon, Paige Fenlon, Adam Taylor, Annabelle Terry, Aaron Archer, Rachel Kendall Brown, Eve Drysdale, Finlay Oliver
director-choreographer Lisa Stevens
musical director Kevin Oliver Jones
sets Bretta Gerecke • costumes Rachel Ryan
lighting Jai Morjaria • sound Chris Whybrow
Charing Cross Theatre, London • 19.Sep-15.Nov.25 ★★★★

Harry Wayne Casey, also known as KC, provides the songs for this lively meta-musical about his life, including the iconic hits he made famous with his Sunshine Band. Each of these numbers is a total banger, so the show plays out like a raucous party. But it's also sharply well written, humorously deconstructing the stage musical formula to tell Casey's story in a way that's thoroughly involving. Working with a terrific live four-piece band, the performers prove to be seriously gifted, diving into the riotous disco choreography with infectious gusto.

After opening with a full-on glitter-ball rendition of Keep It Comin' Love, the story settles in on Harry (Harmon) and his best friend Dee (Fenlon) as teens dreaming of stardom in early 1970s Miami. Later they are joined by their friends Gina (Terry), who has a crush on Harry, and Orly (Taylor), a groovy Vietnam veteran who helps Harry explore his queer side. These four encourage each other to shoot for the stars, so Harry finds ways to record his music, leading to enormous success that changes his life.

While the basic narrative isn't particularly new, the storytelling is buoyant and often exhilarating, which adds a kick to several quieter, more emotional moments. A soulful rendition of Please Don't Go has particular poignancy as these friends confront the reality that they will need to go their separate ways. And because this is a story about someone who simply wants to make people happy, the explosions of joy are thoroughly irresistible, urging us to get up on our feet and dance along with the cast. Of course, we are encouraged to do just that in the wildly exuberant extended curtain call.

The four leads and four background artists adeptly provide soaring vocals, full physicality and punchy emotional beats. Their talent is explosive, augmented by fabulously sparkly costumes, colourful lighting and iconic period dance moves that feel almost weightless, simply because they are having so much fun on-stage. The story is a gentle reminder that success isn't as instant, as easy or as enduring as we all would like it to be. And the show, like Casey's music, suggests that perhaps we would be happier if we spent more time putting on our boogie shoes, shaking our booties and getting down tonight.

For details, GET DOWN TONIGHT >

photos by Danny Kaan • 30.Sep.25

View this post on Instagram

A post shared by Rich Jack Cline (@ukcline)

Critical Week: Lie low

With the big autumn festivals behind us, it feels like awards season kicked off this week, as studios begin jostling for attention with special screenings of their contenders. Channing Tatum gets one of his best roles yet in Roofman, the astonishing true story of a nice-guy criminal. It's entertaining and surprisingly moving too. I also attended a lively Q&A screening with Dwayne Johnson, Emily Blunt and writer-director Benny Safdie for another true story, The Smashing Machine. It's an unusually realistic mixed martial arts biopic with terrific performances from the whole cast.

BEST OUT THIS WEEK:
Brides • Ellis Park
ALL REVIEWS >

Dylan O'Brien is terrific in Twinless, starring opposite gifted writer-director James Sweeney in an offbeat drama about grief and obsession. Marion Cotillard goes glacial in The Ice Tower, a too-murky fantasy about a teen girl who because fascinated by an actress on a film set. Eddie Marsan and Sam Claflin go very dark in All the Devils Are Here, an intriguing, artful British crime drama set in a gloomy farmhouse on a moor. 

Hong Kong icons Jackie Chan and Tony Leung face off in riveting, fast-paced cops-and-crooks thriller The Shadow's Edge. From Argentina, Kill the Jockey is a skilfully made and very quirky romp infused with dark emotions. And Justin Kurzel's doc Ellis Park beautifully explores the life of musician Warren Ellis and his involvement in rescuing animals in Indonesia. I also attended Acosta Danza's exhilarating A Decade in Motion on stage at Sadler's Wells. 

Films to watch this coming week include Leonardo DiCaprio in One Battle After Another (after I was unable to attend the only press screening), Riz Ahmed in Relay, Marlon Wayans in Him, Malcolm McDowell in The Partisan and Hunter Doohan in The Wilderness. There are also live performances of Lacrima at the Barbican and Get Down Tonight at Charing Cross Theatre.

Dance: A joyous fusion

Acosta Danza
A Decade in Motion
artistic director Carlos Acosta
dancers Amisaday Naara, Adria Díaz, Daniela Francia, Frank Isaac, Leandro Fernández, Brandy Martínez, Cynthia Laffertte, Ofelia Rodriguez, Melisa Moreda, Thalia Cardin, Wendy Elizabeth, Alexander Arias, Aniel Pazos, Paul Brando, Edgar Zayas
Sadler's Wells, London • 23-27.Sep.25 ★★★★★

Acosta Danza celebrates its 10th anniversary with a programme of four exhilarating pieces that burst with Cuba's distinctive blend of rhythms, attitude and physicality. Performed by Carlos Acosta's company of seriously gifted and gorgeously muscled dancers, two of these works (98 Días and Llamada) are UK premieres, and all four capture what Acosta refers to as his home nation's "fusion of cultures, rhythms and dances". These are pieces that get the heart racing with astonishing choreography that expresses a pure love of dance. 

First up is La Ecuación (the equation) by choreographer George Céspedes, in which four dancers spiral around the frame of a cube in brightly coloured costumes. Their movement echoes and mirrors, in solos and groups, striking eye-catching shapes along with the jubilant thump of X Alfonso's music, which mixes marimba and maracas with rumbling techno undercurrents. With its bright colours, pulsing beats and inventive lighting, this is unusually expressive and expansive, and also acrobatic and cheeky, a celebration of soaring physicality that feels improvised but is skilfully precise.

Choreographed and designed by Javier de Frutos, 98 Días echoes the life-changing days poet Federico García Lorca spent in Cuba in 1930, rediscovering his multi-ethnic heritage. Along with music by Estrella Morente, the soundtrack features spoken words by Lorca, including a lecture about his arrival on the island and the evocative poem Son de Negros en Cuba. In cool blue jumpsuits with lace sleeves, a group of 10 dancers performs to both words and music, with gorgeous full-bodied movement that expresses the collision of cultures, highlighting Latin and African rhythms, classical flamenco and ballet flourishes, and both dancing and fighting in the streets. It's visually and emotionally breathtaking.

Even more emotive, Goyo Montero's Llamada (calling) sees the dancers on stage in white skirts and matador trousers, expressing deep yearning as thy spin both in a group and in their own spotlights. This is a rolling, floating piece with music by Owen Bolton, Miguel Poveda and Rosalia, and it explodes with passion as romance blossoms, lighting shifts to red and costumes are shed. The music and choreography are elegantly beautiful, creating wrenching connections between the dancers that evoke wider social themes, most notably that internal sense of direction that we all recognise regarding things like culture, religion and sexuality.

Finally, the entire company takes the stage for De Punta a Cabo (from end to end) by Alexis Fernández and Yaday Ponce. Set along Havana's Malecón seawall, this is a celebration of culture that depicts Cuba's unique blend of Native American, European and African heritage in both movement and music (by Kumar, Kike Wolf and Omar Sosa). In front of a projection of the bay, which sometimes features performers atop the wall, the dancers joyfully throw themselves into a range of eloquent movement, jumping and spinning as they engage with each other as if they're attending a street party. The music shifts from smooth and rhythmic to hip hop as night falls, and a pair of bongos adds enjoyable beats. It's no wonder that they strip off their sweat-soaked clothes and collapse in a heap at the end. Only to pop up for a very lively curtain call.

For details, SADLER'S WELLS >

photos by Hugo Glendinning, Argel Ernesto González Alvarez,
Ariel Ley, Enrique Smith Soto • 23.Sep.25

Dance: You've been framed

Eastman
Vlaemsch (chez moi)
director/choreographer Sidi Larbi Cherkaoui
performers Dorotea Saykaly, Helena Olmedo Duynslaeger, Christine Leboutte, Kazutomi ‘Tsuki’ Kozuki, Dayan Akhmedgaliev, Patrick Williams Seebacher, Nick Coutsier, Pau Aran Gimeno, Jonas Vandekerckhove, Nelson Parrish Earl, Darryl E Woods, Khalid Koujili El Yakoubi, Tister Ikomo, Maryna Kushchova
live music Floris De Rycker, Tomàs Maxé, Anne Rindahl Karlsen, Soetkin Baptist
sets Hans Op de Beeck • costumes Jan-Jan Van Essche
musical direction Floris De Rycker • sound Tsubasa Hori
Sadler's Wells, London • 18-20.Sep.25 ★★★

Belgian-Moroccan artist Sidi Larbi Cherkaoui takes a deep dive into his Flemish roots with this lively, multi-layered production that bursts with a wide range of ideas. It's visually dazzling and packed with metaphorical meaning as it mixes dance and music with spoken word, religion, language, art and culture. In other words, this is an exploration of identity, and it inventively reflects how difficult it is to isolate ethnicity and nationality in a world in which we all intermingle. It's also extremely singular, conveying ideas in ways that don't quite allow the audience to get inside them and feel them personally.

The stage is an astonishing mix of spaces and shapes, including elements from medieval Flanders, with sets, props and costumes that emphasise the region's perceived greyness. Musicians perform with ancient instruments, while De Rycker's vocal ensemble Ratas del Viejo Mundo harmonises in 16th century compositions. Intriguingly, other cultures continually seep into every aspect of the show, including Arabic musicality, American perspectives and sub-Saharan imperialistic influences, as well as some Far East touches. Everything plays out in lovely multi-lingual textures, although the words are more academic than resonant.

Full of fascinating touches, the complex choreography challenges the gifted performers to offer full-bodied expressions that shift from intimate movement to grand-scale tableaux. Much of this is laced with wit, as characters emerge and interact, playfully juggling elements involving gender and history. And rather a lot hinges around depictions of painters, as dancers repeatedly wield brushes, paint cans and picture frames in various scenes. Along the way, there are show-stopping moments, including a bus tour invasion of influencers gawking at the show. 

All of this plays out in such an intriguing flurry that the audience never has a clue what might pop up next. Key characters emerge to create through-lines in the narrative, including dancers, actors and singers, although what they mean and how they interact remains opaque. Indeed, many elements are head-scratchingly unclear, especially small bits of business taking place on the edges of the stage. Clearly it all has a profound meaning, and perhaps Cherekaoui's cheeky point is right there in the show's title, which is a deliberately misspelled archaic version of "Flemish": we should stop trying to put our cultural identity into a neat and tidy box.

For info, SADLER'S WELLS >

photos by Filip Van Roe • 18.Sep.25

Stage: Dance your life away

Teaċ Daṁsa
How to Be a Dancer in Seventy-two Thousand Easy Lessons
by Michael Keegan-Dolan
choreography and performance Michael Keegan-Dolan, Rachel Poirier
directors Rachel Poirier and Adam Silverman
set and costumes Hyemi Shin
lighting Adam Silverman • sound Sandra Ní Mathúna
Sadler's Wells East, Stratford • 17-20.Sep.25 ★★★

Blending his personal experiences into a lively performance art piece, Michael Keegan-Dolan takes the stage with long-time collaborator Rachel Poirer to explore the journey of his life through spoken word, dance and physical theatre. It's a fascinating show, largely because it's impossible to predict what might happen next. But it's also oddly indulgent, expressing ideas and narrating events in ways that keep the audience on the outside looking in. And for a show that explores ambition, identity and ancestry, it never quite cuts loose into something truly soul-baring.

Keegan-Dolan and Poirer immediately get to business unpacking a large wooden crate to place props around the stage for use later. For much of this 80-minute show, Keegan-Dolan recounts stories from his life while Poirer offers little asides, sounds and visual touches. There are also extended dance sequences and larger eye-catching moments involving ladders, lights, breeze-blocks, a disco ball, an egg and microphones on long cables. This show is constantly in motion, with a cheeky sense of humour that reflects in the performers' evident glee, especially in the sillier moments.

The story traces Keegan-Dolan from his childhood in Ireland to studying ballet in London and working as a choreographer across Europe, seen through the prism of his nationality as he stands up to authorities at every step (echoing his recent fallout with Sadler's Wells). Anecdotes chronicle moments of both embarrassment and tenacity, played out on-stage with honest wit and inventively visual flourishes. The choreography is impressively precise, even when things get messy. And Poirer's show-stopping dance numbers include a goofy cross-dressing sequence and a remarkable marathon solo to Bolero.

An eclectic mix of music spans from Ravel and Elgar to Talking Heads, Queen and Men Without Hats. Themes are also wide-ranging, touching repeatedly on art, religion and racism, with some vague nods to sexuality along the way. Most enjoyable is the lively storytelling, recounting youthful aspirations as they clash with reality. These are funny and telling, and offer brief moments of resonance along the way. Most sequences feel rather random, but the general sense of absurdity is lovely. As is the idea that life is short, so while I'm alive I will dance.

For info, SADLER'S WELLS >

photos by Fiona Morgan • 17.Sep.25