I have said it before on these pages – and no doubt I will say it again – that generally speaking I look forward to seeing contemporary dance companies more than I do straight theatre. One is often disappointed by drama productions, even those that have impeccable credentials but I for one am rarely, if ever, disappointed by modern dance.
Leeds based Phoenix Dance Theatre is celebrating its 35th anniversary and, to my shame, this is the first time I have seen them. And I wasn’t disappointed. Sadly though, it was disappointing to see such a small audience for the excellent and hugely entertaining Triple Bill 2016 at the Everyman last night.
Phoenix is a relatively small company comprising four girls and three boys, all of whom were on stage most of the time. First up, the cryptically named Until.With/Out.Enough, is a reworking of what its creator, Itzik Galili, calls “an old piece”. First performed in 1997, he has given it a facelift with new costumes and lighting and it was these two elements that really created a spectacular visual feast. Dressed identically in khaki, almost military, shirts, this was an ensemble piece with the dancers rarely off the stage. The uniformity was offset towards the end by the appearance of a girl in a simple white dress carrying a balloon on a string. The bare black stage was an ever-changing kaleidoscope of light (designed by Yaron Abulafia) and smoke and was never less than hypnotising. The incessant, mainly cello and double bass music by Henryk Gorecki completed what was a really outstanding, exciting piece, which I loved.
Next up was Melt by Sharon Watson, the company’s Artistic Director. Performed on a bare stage, without smoke or complex lighting, this piece depended on a couple of dangling ropes for its effect. I really liked the mainly vocal soundtrack by Wild Beasts and some of the swinging and acrobatics on the ropes was beautifully done but I felt this piece lacked the impact of the other two.
Last of the triple bill was Bloom, again an ensemble piece, but this had a lot more scope for individuals in the company to express themselves. Choreographed by Caroline Finn and, again with beautiful lighting by Yaron Abulafia, this was a much more light-hearted affair which seemed to take place in some sort of cabaret with a masked vocalist or comedian from whom the words would not come. Alone in his mask and absurd costume he desperately clutched his shiny microphone while being mocked by the audience (the one on stage, not in the auditorium, I should hasten to add). It put me in mind a bit of Brecht/Weill and pre-war Berlin and gave scope for a lot of solos and for the dancers to reveal more of their personalities. Finally, revealed in his pristine Y-Fronts, the masked entertainer managed to perform his act. Loved it.
This was an excellent evening of contemporary dance which I thoroughly enjoyed and I shall be watching out for future productions from the Phoenix Dance Theatre with eager anticipation. Had it not been for the slighter weaker Melt I would have given the show five stars. ★★★★☆ Michael Hasted 23rd September 2016
