Hidden Worlds
“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
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Tonight's little surprise, a small bonus routine, comes in the form of dancer and choreographer Jack Webb's incredible new work “Drawn to Drone,” performed by soloist Christopher Harrison and with a hypnotic soundscape by Webb himself. Using two white chairs only, Harrison enters the space, methodically strips down to underwear and sits on the lined-up chairs, tentatively stretching and contorting his limbs, which seem to move independently of his body. His arms and legs raise up in slow motion, and the focus is entirely concentrated on the geometric shapes he creates. He seems like an astronaut on a space flight simulator, where the chairs are becoming like extensions of his body. It is reminiscent at times of David Bowie in Nicolas Roeg's classic The Man Who Fell to Earth, where the young Bowie sits isolated in a room, an alien in a hostile planet. An intense, mesmerising piece, with almost sci-fi precision, it is impossible to take your eyes off the wonderful Harrison.
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Scottish Ballet in “Sibilo,” choreography by Sophie Laplane. Photograph by Jane Hobson
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“Circle Electric” makes a magnifying glass of the stage, and places different dancers in different configurations in the spotlight with the intention of observing them and thereupon making inquiries.
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Continue ReadingAs the fight for greater visibility for women choreographers continues, it was encouraging to see Carlos Acosta, director of Birmingham Royal Ballet, commission an all-female creative team for “Luna,” the final piece in his trilogy celebrating the company’s hometown.
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