Review: FRONTIERS - NATIONAL DANCE COMPANY WALES, The Place

The Place welcomes back the National Dance Company Wales in a double bill: Frontiers. Opening the evening is Skinners by Australian (of European and Javanese heritage) choreographer Melanie Lane. Lane is looking at the much discussed tech/humanity dichotomy and suggests an abstract approach rather than anything overtly literal.

The work has three clear phrases: manic, robotic dystopia (including pas de bourrée!); inquisitive humanity and finally a mix of the two. The opening section defines Lane's adept structural skill and utilisation of space. She uses the dancers like architecture, slicing and defining, and also isn't afraid of simplicity. The first five minutes are all based around walking, and I could see the physical embodiment of an algorithm or DNA if actively relating to the overarching intention.

The mid section is where touch prevails, shown through intricate partnering that morphs into poetic-style wrestling. There's resistance but also release at play, making for an interesting watch at times.

The final phrase builds on the two former and purports a more obvious sense of community. The group work is organic in both use of weight and flow, and sees the troupe cover vast amounts of space with evident ease, connectivity and supported lifts.

The costume design by Don Aretino is a riot. I read Diane von Furstenberg with the inclusion of major batwing sleeves, and headgear reminiscent of Leigh Bowery sponsored by Wolford. Yamila Rios’ composition didn't let us sleep for a moment, but also starts to feel a tad monotonous after a certain point. Overall I'd suggest the work doesn't leave one wanting, but neither transcends. 

The second piece is August by Matthew William Robinson - NDCW's current Artistic Director, who is leaving in December to lead ZfinMalta, the national dance company of Malta. August reflects on “times of profound personal change” and my take is it's more personal than Robinson realises.

The overall production is simple but effective, with use of a long, horizontal fluorescent tube light, that changes colour and level to inform an atmosphere of dense intensity.

The dance content is less impactful, but still develops in certain ways. The wrestling journey continues, but this time it's more Dante’s Inferno writhing bodies in flavour. There's an interesting male duo that sees Robinson’s voice start to speak; interweaving partnering allows for rarely seen same-sex, non-sexual touch to take place, and the movement momentum builds as the piece continues.

Group sections include numerous interesting aspects: pliable roundness throughout the whole body, agile switching between levels, verging on invisible transitions and major kinesphere exploration - seemingly leaving no space uncovered. It all sounds good; and it is, but I fear it's more to do with the high level of execution as opposed to actual genre development. And a final brava to Emma Jones for the lighting design, but even good lights shouldn't be the totality of a piece. 

National Dance Company Wales is a worthwhile troupe, no doubt, and all seven dancers offer skill and commitment by the bucket load. Choreographically speaking this bill didn't rock my world, yet still offered lots of worthwhile content to peruse over. The real knack is knowing which bits to hold onto and develop, and contemplating if your audience is on the same trip as you.

Frontiers runs at The Place until 9 October

Main Photo credit: Jorge Lizalde

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