Based on T.S.Eliot’s Four Quartets, this piece was an impressive performance from a young dancer-choreographer and his fellow artists. The structure was of four separate chapters (one for each section of a poem) which worked well, although there was room for even more space for the audience to assimilate each individual section. The programme described the overall narrative as ‘from a place of being lost to a state of empowerment and acceptance’ and this certainly came across: the figures seemed to be searching and grasping at the start, and by the end they had become more animated, grounded and secure. (more…)


Dance? Mime? Theatre? Peut-Etre . . .

When I was asked to review a children’s show called Tidy Up, I immediately anticipated an hour or so of theatrical fun. I also gleefully anticipated that my children, aged five and nine, would receive a subliminal message that tidiness is COOL! I was not disappointed.

The three Tidy Up performers had a giggling North Wall audience in the palms of their hands from the very beginning, accompanying the slapping of their hands on their bottoms with cheeky, over the shoulder winks. With the performers enjoying themselves, the fun was infectious. (more…)

Last Thursday, on a snowy night, St Hilda’s College Oxford warmly welcomed the local dance community to learn more about Fred Astaire, arguably the greatest dancer of the twentieth century. New York Times critic Alastair Macaulay gave an entertaining, witty and enlightening talk, as he showed us a series of filmed dance excerpts, while placing Astaire’s work in its cultural and choreographic context. (more…)


Delighted to welcome Nicholas Minns, whose thoughtful blog writingaboutdance is a must-read for those interested in current dance performance of all kinds, as a guest reviewer for Oxford Dance Writers during this year’s Dancin’ Oxford Festival.  Here is his take on Ad Infinitum’s Translunar Paradise at the North Wall last week.

As part of its tenth anniversary celebrations, Bristol-based Theatre Ad Infinitum is touring two works, Odyssey (2009) and Translunar Paradise (2011). Each show takes up a full evening slot, so it was only the latter work we saw on the second night at The North Wall in Oxford. It’s always a pleasure to have the opportunity to see a Lecoq-trained mime company though a little unexpected in a line-up of the Spring Dance Festival programmed by Dancin’ Oxford, ‘the leading dance organization in Oxfordshire’ that ‘significantly raises the profile and visibility of dance in the city’. Hmmm.

Theatre Ad Infinitum’s co-artistic director George Mann wrote and directed Translunar Paradise and he also plays the role of William, a widower who finds it hard to let go of the memories of his late wife, Rose (Deborah Pugh). It is clearly something close to his heart, for the playing out of the story is infused with a sense of detail and empathy that come from close observation. (more…)


This was at three-part evening: first drumming in the bar by Natty Mark-Samuels and Francis Boua, then the performance (which the drummers also accompanied), and afterwards a DJ set.

The central event was Unlock the Chains Collective’s performance of #Ending the Silence, Euton Daley’s blistering commentary on the aftermath of empire and colonialism. Part One (entitled #Black Lives Matter) opens to the sound of emergency vehicles, and we see the performers dressed in black and white on a set with two soapbox stands and a pair of large grid frames, one placed on the floor the other leaning against the back wall. Overhead, a screen displays Derek James’ filmscape of words, names and images. (more…)


Cut and RunChoreographer: Martin Lawrance

The fierce cut and jib of this work was evident from the first moment: music and movement battled for dominance, both rhythmic and rigorous. The choreography had a disjointed quality; the many pauses – some fleeting and others broad – prevented a sense of fluid motion. However this suited the music, which had pounding yet uneven rhythms and was often a cacophony of sound. The dancers rarely moved together; instead they seemed to fight, to exist alone, and to defy and reject each other. The level of technical command was impressive: each movement (or sudden stillness) was precise and controlled, and the dancers negotiated dizzying transitions between standing, lying, rolling and turning. (more…)


Richard Alston Dance Company returned to Oxford this week for one evening at the New Theatre. The programme opened with Martin Lawrance’s Cut and Run, to music by Michael Gordon and Damian LeGassick for ten dancers dressed in ‘urban wear’ with metallic decoration that glinted in the dim light. Starting and stopping, dodging and colliding, they broke out of the purple patch of illumination that seemed at first to confine them, and spread across the darkened stage. An interval of silence, then the lights changed to orange, adding a fresh sense of urgency to their frantic race, until the work concluded, with the dancers once more bathed in a purple glow. (more…)


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