Dance: Across the sea

We Caliban
concept, choreography & direction Shobana Jeyasingh
dancers Harry Ondrak-Wright, Holly Vallis, Raúl Reinoso Acanda, Oliver Mahar, George Gregory, Tanisha Addicott, Gabriel Ciulli, Tabitha O’Sullivan
text consultant Priyamvada Gopal • dramaturg Uzma Hameed
composer Thierry Pécou • sound Fred DeFaye
sets & costumes Mayou Trikerioti
lighting Floriaan Ganzevoort • projection William Duke
Sadler's Wells East, Stratford • 21-23.Apr.26 ★★★

There's a strikingly loose visual style to this fascinating take on Shakespeare's The Tempest, as dancers energetically dive into swirling choreography that's more expressive than precise. This helps to draw out personal insights in a story that plays with a central theme of colonialism, specifically the superiority one culture can feel toward another. The impressive staging includes dazzling lighting and projections. And even if it feels both on-the-nose and rather elusive, the show is thoroughly gripping.

It opens on Prospero (Harry Ondrak-Wright), his daughter Miranda (Holly Vallis), his brother Antonio (Oliver Mahar) and their learned community. In a power struggle, Prospero and Miranda are set adrift, washing ashore far from home. In this foreign land, they encounter Caliban (Raúl Reinoso Acanda) and his own learned community. But Prospero and Miranda insist on teaching them their civilised ways, even as Miranda falls for Caliban, which is something Prospero is definitely not happy about.

The stretchy, spinning choreography features astonishing shapes and powerful lifts, performed slowly for maximum impact. It's also intriguingly rough around the edges. Dancers sometimes link together, entangled in sexy formations. There's scrappy violence, and group sequences that are almost, but not quite, in unison. It's eye-catching and often thrilling to watch, especially as intense emotions churn between the characters. One provocative touch is to have the performers carrying books to symbolise culture. Of course Prospero believes his book is better than the Caliban books, while Miranda tames the "savage" Caliban using art, including ballroom dancing lessons. But then, he also teaches her lusty moves in a tender, exploratory sequence.

Cool lighting designs augment the movement, surrounding the dancers with spotlights that bounce off a string curtain to create shimmering textures. The soundscape features music by Thierry Pécou, voiceover readings and snippets of dialog that accompany the on-screen text and video. A big storm brings these elements together with a dazzling array of light, sound and wind. And all of this reverberates with condescending colonial attitudes towards "uncivilised heathens". Against this, the earthy, warm-hued costumes have a hint of sci-fi about them, as if this is taking place on a planet Captain Kirk is about to beam onto.

Playing out through seven distinct scenes, there are highlights peppered throughout the show, most notably two superbly expressive duets involving Reinoso Acanda alongside Vallis and then Tanisha Addicott. With echoing movements, these feature impressively controlled displays of strength and balance. Then in the end, the plot continues into a rather chilly final sequence in which Prospero asserts his control. And the way the Caliban community is left changed forever is haunting.

For information, SHOBANA JEYASINGH DANCE >

photos by Foteini Christofilopoulou • 21.Apr.26

Dance: Duets in the dark

Young Associates: Mixed Bill
Lilian Baylis Studio, Sadler's Wells • 22-23.Nov.23

This year's Young Associates showcase features four very different duets, each with its own distinctive tone. They are all performed on a dark stage with very strong lighting, as seen in the images...

Falling Forwards
choreography Maiya Leeke
dancers Joshua Hawkins, Emily Lue-Fong
music Randolph Matthews

Maiya Leeke's work emerges from her background as a jazz saxophonist, and as a dancer she appeared in Barbie. This piece features a range of intriguing juxtapositions between two dancers, a male and female wearing loose, flowing costumes that sometimes seem to get in the way. They move against each other, on their own and sometimes in unison, creating eye-catching shapes. On the soundtrack, breathy rhythms give way to music as the choreography shifts from sharp movement into much more musical expression. The couple comes together to perform a series of lovely moves before separating again. The movement is demanding, beautifully performed to create engaging characters and a story that's involving and even moving. 

Ida’s Solace
choreography Elisabeth Mulenga
dancers Laurie Ward, Steffi Fashokun
music by Travis Yu

Elisabeth Mulenga takes inspiration from cinema as she explores the human psyche. This piece is challenging and sometimes abrasive, as two women in calf-length dresses writhe in unison and then separate to strike poses that have echoes of horror, sometimes juddering or breaking into huge facial expressions. Performance art rather than dance, the movement is often awkward and difficult, deliberately revealing the strain both in the individual and in the way they try to interact with each other. It also sometimes feels aggressive and violent. Much of this is alienating and even disturbing, but it's also eerily intimate. So even as it pushes us away, we are intrigued.

At the Foot of the Brae
choreography Roseann & Sula
dancers Yu-Chien Cheng, Naissa Bjørn
sound design Jan Brzezinski

With a plinth in the centre of the stage, this piece features two androgynous dancers who are both male and female, performing in ways that suggest a queer struggle for connection and meaning in life. It's a moving piece, choreographed theatrically by Roseann and Sula to echo their experiences growing up in central Scotland. This involves evocatively staged extended solo sections that include enormous movement, revealing huge effort and big emotional outbursts. Then when the dancers are together, they fly around the stage with real power. But there's always a struggle, a push and pull. It's a lovely depiction of gender fluidity, a cry for hope.

My Glimmer Boo
choreography Blue Makwana
dancers Lauren Jenkins, Tanisha Addicott
lighting Amelia Hawkes

Dedicated to Matthew Perry, this cheeky piece uses friendship as its central theme, opening with a voiceover introduction to two social media stars. They emerge grinning and snapping selfies, adeptly performing a riotously athletic TikTok style routine before shifting their costumes for a modern dance section. This includes emotional turns on their own and as a pair, leading into a more classical dance piece that's elegant and empowering. Then the phone is back as they merge all three styles in a whizzy, inventive way, performed with intricate skill to a remixed version of the Friends theme. The music all the way through is clever, and the red and black colour scheme inventively interacts with the lighting. It's also very sweet.

For information, visit SADLER'S WELLS >

photos courtesy Sadler's Wells • 22.Nov.23