The surprise is artistic director Tamsin Fitzgerald’s choreography. First of all it is uncannily musical and added to the fact there are no women whom, rightly or wrongly, we expect to provide the subtler nuances to Angus Macrae’s music, Fitzgerald gives every note and phrase a real and recognisable meaning.
This section, choreographed collaboratively between Rebecca Evans and the dancers, holds the most individual choreography, ingeniously using lights to create distorting shadows and open and close the space. You never want this part to end, constantly leaving you guessing at each turn with new and innovative motions.
A Younger Theatre
The choreography is laced with connections, contact work and power play; wildly athletic yet effortlessly executed, transitions from weighty masculine energy to an elegance and grace rivalling, in a particular moment, that of a mother and child. It’s always fascinating to see how irrelevant gender can become on stage when the movement vocabulary is so expansive, and the detailed attention to more subtle gestures; the softest touch on a shoulder, the inclination of a head in understanding. These are the moments that finesse what is already a extremely powerful piece of art.
Run, at London’s the Place, was conceived by the founder and director of Hereford-based 2Faced Dance, Tamsin Fitzgerald. It’s a triple bill, featuring contemporary work by herself, Rebecca Evans and Lenka Vagnerová and confirms Fitzgerald as a choreographer on the ascent. From Above sees her filling the stage space with big, breezy moves, as 2Faced’s five excellent male dancers negotiate the conflicting tides of Angus MacRae’s composition for cello and piano. It’s confident, sinewy stuff and I’m looking forward to more.