Review: LENIO KAKLEA - ΑΓΡΊΜΙ (FAUVE), Sadler’s Wells

Αγρίμι (Fauve) by Lenio Kaklea is a brave piece of modern dance that should be recognised for its shunning of conventions and committed performances. As well as its “if Balenciaga did contemporary dance…” overarching feel.

Kaklea is respected in contemporary circles, so it makes sense that someone like her is willing to take risks in relation to making and canon development. Did it work? You'll find me on the fence leaning towards no.

The blurb talks of forests and dance as a wild zone, and the first 15 minutes of the piece definitely felt like they were saying something. A black box stage with three floor to ceiling poles and two plumb line contraptions acts as an environment for Kaklea, Georgios Kotsifakis and Ioanna Paraskevopoulou to stalk and weave around, like animals spraying territory.

The movement is interesting. Pedestrian in style, it's offered in bite size portions via solo moments. Walking, skipping, galloping, the dancers cover space and then stop; death stare at the audience and proceed to grab their crotches and slap their own asses. This all worked for me as it felt well thought out, was executed with minute precision and had an air of anarchy without being too obvious.

The walking aspect was then explored by the trio in an extended manner which started to wane. They behaved like magnets in space; equally attracting and repelling each other to create an omnipresent tension. Until they didn't and a mini collision happened - awkward. I don't mind being worked as an observer, but this elongated task was the beginning of the end in a way.

The next section began with a short, narrated story about a woman getting lost in a forest, meeting dwellers there and an episode of cannibalism. Forests: check. 

Light then shone from torches and confirmed there'd been some undress taking place in the blackout. Kaklea now bottomless, Paraskevopoulou topless and Kotsifakis in small, flesh tone pants. Unsure why, but also why not?

The movement for the trio then ranged from Playford dances, easy skips hand in hand, Court-style partnering, with demi pointe and hip swing that suggested invisible stilettos to semi-naked wrestling, precise with gusto and just enough ass-in-face to keep one part engaged/part flinching.

This section also saw the introduction of a chain. Paraskevopoulou used it in a swirling dervish mode to create “Whip-Crack-Away!” vibes, and later it added to a sex game theme of control and submission jostled between the three. Equally saucy and matter of fact in feel.

Earlier on the plumb lines were sent off on a slight swing, and now the three dancers shimmy up the poles to partake in a little repose. Once aloft they offered the odd pose change during the continued reflection, and observing them wasn't unpleasant…but also why seems like a very valid question.

To finish the work Kaklea descended, cut one of the hanging plumb lines and water cascaded to the floor. It wasn't a strong finish, and there was an evident feeling of uncertainty emanating from the audience. Is it over?

Oh hell’s bells it was, and I'm pretty sure we're all none the wiser. But “them's the breaks” in contemporary dance. So either suck it up or stay home.

Αγρίμι (Fauve) runs at Sadler's Wells until 1 November 

Photo credit: Maria Toultsa

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