It seems the 1980s are in fashion in the dance world. The blurb for describes it as a “contemporary musical” and “a choreographic ode to the sound and vibe of the eighties”. There is no doubting the energy and commitment the 10 dancers brought to the performance on May 18Saturday, but the piece takes itself a little too seriously.
It is standard contemporary dance fare and certainly does not resemble a musical; and it never quite captures the joyous exuberance of the 1980s at their best. Gat’s choreography – created with the dancers – is effective in places, notably contrasting slow or fast movement by an individual dancer with a group doing the opposite, and the score alternates intriguingly between the big, anthemic Tears for Fears songs and passages of silence. Two sections stand out for their genuine response to the music and their original, creative choreography: which featured a thrilling extended solo from Abel Rojo, whose speed, control and musicality were outstanding, and an intelligent, inventive treatment of led powerfully by Michael Löhr.
However, the overall vocabulary of movement is limited – there are way too many waggling hips and endless high kicks – and soon becomes repetitive. At 30 minutes, the piece would be enjoyable; at 75 minutes it outstayed its welcome. The lighting, designed by Gat himself, is strangely dim, so much so that at times the dancers could not be seen clearly, even when they were at the front of the stage.
This was cle.
