7.0 – The Herald

Talent and energy abound in 2Faced Dance’s triple bill, In the Dust. Time was, this group hit the Fringe as a bunch of eager lads from a community-based project where break-dancing was the mainstay of the programme and was showcased in short bursts of individual power moves. Now the group arrives as a professional touring company – all-male, still – but with a skills base that encompasses contemporary dance alongside the street styles and with choreography that many other outfits would envy.

The Herald

Some dance shows make you itch to jump up and start dancing; without any doubt In the Dust is one of these shows. 2Faced Dance Company mesmerizes the audience with a triple bill of contemporary dance interwoven with break dance and some capoeira. As the eight dancers of this male company swept the stage with jumps, pirouettes and nervous jogs, the energy propelled from the performers to the spectators was palpable.

The Skinny

There’s an immediate energy to In the Dust, a new triple bill by 2Faced Dance Company. This all-male troupe mixes hip-hop moves with contemporary dance, creating a muscular, confident style. These works show none of the joins that can plague crossover projects. The dancers have an easy athleticism, at home with everything from street dance acrobatics to mooching contemporary steps.

The Independent

7.0 is perhaps the most successful of the three pieces [that make up In The Dust] due to its composition, content and climax. Choreographed by 2Faced Dance Company’s Artistic Director Tamsin Fitzgerald, this piece centres around the devastating earthquake which hit Haiti in 2010. The piece is named in order to highlight the severity of this natural disaster, a huge 7.0 magnitude on the Richter scale and the dancers match that, in dance terms at least, with a violent surge of virtuosity which leaves you in disbelief. Somersaults, backflips, turning jumps that explode, mid-air, with an extra, quite unexpected manoeuvre thrown in at the very last moment. These guys are on fire! But more than that, there is power in their acting, their ability to tell a story or, more specifically, retell the stories of the many millions of civilians who suffered, all through the art of performance. It’s the realisation in the eyes of the dancers that these people’s lives are in tatters. Goosebumps, a lump in the throat – this is powerful stuff.

Public Reviews