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Between Three, The Kings Head Theatre July 2011

James Buxton, Extra!Extra!

 

Something special is happening in the back room of the King's Head - young theatre companies are being given a platform to express their latest experiments. Last month, it was Opera Up Close, now it's the turn of Antique Dance, a London based dance company established in 2009, helmed by Holly Noble, specializing in a fusion of classical and contemporary dance. Tonight's performance features four dance pieces.

 

Under a haze of indigo, a young female dancer gingerly extends her leg up to the ceiling as the heavy headed speakers regurgitate their stuttering sounds onto the stage. An industrial soundscape of broken beats and squeaking gates, combined with sweeping whirls, and robotic pirouettes. At times the company almost resemble jerking mannequins, Brett Murray looking like a young David Bowie. Their performance of Ternion is scintillating; Noble's immaculate choreography elegantly expresses the nuances of experimental sounds through a flow of elaborate contortions and gestures.

 

Emma Fisher's solo performance of Soporose contrasts the industrial sounds of Ternion with a melodic soundtrack by Philip Glass, inducing a fantastical atmosphere. Fisher weaves her way though Labyrinthine dance moves as the hypnotic sounds lull us into a soporific torpor. Her doll like face creates an unsettling yet fascinating correspondence with the precision of her movements.

 

Fawn takes its inspiration from the arresting music of Mozart, and it pulls no punches, with its overwhelming operatic urgency. You can see every single muscle is tensed in the slight trembling of the androgynous Oliver Wraith when he supports Rachel Maybank, as the cathedral-like power of the choir and organ combine with dramatic potency. Their concentration is astounding to watch as the violin carves out its defiant strain, their shadows gliding impishly across the black wall, full of poise and grace. The ambition inherent in this work is awe inspiring and nothing short of brilliant. The effort and technical skill required to sustain these moves is highly impressive, especially considering the age of the cast.

 

In Slowly We Collide the haunting music of Jody Talbot, sounds like an Eric Satie soundtrack to spring, imbuing the dancers with a freshness and vitality. Their arched bodies and boundless leaps are magnificent to watch as they unravel into new shapes with ease and fluidity. As each of the dancers echo each other's poses, their impeccable timing becomes apparent.

 

Noble's choreography combines a classical style with expressive movement, free from narrative restraints. This is inspirational dance, done by a young company who are totally dedicated to their art. The pain that the female dancers must have had to endure, wearing ballet blocks must be absolutely excruciating, yet they appear unfazed and elegant throughout. The intimacy of the space itself contributes to the intensity of the performance and provides an unmissable opportunity to see these dancers, before they perform on a stage where you'd need a mortgage to afford a ticket.

 

 

Bewteen Three, The Kings Head Theatre August 2011

A Younger Theatre

 

Between Three, the latest project by London-based Antique Dances, offers an evening of technical and artistic variety, and showcases the talents of an accomplished set of performers. The show, which lasts just over an hour, constantly traverses the boundaries between classical and contemporary styles, and does so without feeling in any way disjointed.

As its title suggests, Between Three comprises of a trilogy of works, each with its own distinctive style and flavour. The first section, entitled Slowly We Collide, features the music of celebrated British composer Joby Talbot. This classically-influenced routine utilises the company’s six dancers in an array of different arrangements, including duets, trios and quartets. A refreshingly sanguine piece, it becomes increasingly flamboyant as it progresses, and offers an introductory exhibition of the dancers’ skills.

The second piece, Ternion, first shown in Liverpool in 2010, is far more fluent than the proceeding set. Choreographed to the music of Chris Clark, it features a series of swift routines which are as arresting as they are melancholic. Much of the piece focuses on a set of pas de deux, and it is in this section that the group’s founder, Holly Noble, comes into her own. The frenetic motions complement Clark’s stark electronic pulses, creating an almost hypnotic effect. As the most contemporary of the three sections, Ternion is sometimes mechanic, but remains captivating throughout.

The third and final work, FAWN, is the only entirely new piece in the show. Utilising Mozart’s Requiem as its score, it manages to enrich a conventional classical form by adding subtle modern flourishes. FAWN allows the company to show off their technical versatility, and is at times a remarkably striking performance. Emma Fisher is particularly impressive in this component; her flowing, dramatic performance is enchanting in its delicacy. Of the three sections, FAWN is noticeably less refined than the previous two, but this is almost certainly down to its relative freshness.

As impressive as some of the choreography is, one cannot help wondering how much Between Three would be improved by being staged in a venue somewhat larger than the King’s Head. The versatility of some of the dancers makes one long to see them set free in an open space, as the confines of the room seem to inhibit them somewhat. However, for a company that is barely two years old, the professionalism of this production is remarkable. Not all the dancers are equally polished, but there is definitely much to be enjoyed in this diverse evening of entertainment.

 

 

Slowly We Collide, The Actors Church, Covent Garden May 2011

Graham Watss, LondonDance.com

 

The most arresting and complete new work, for me, was by the event’s organiser, Holly Noble, for her Antique Dances company:  Slowly We Collide was a contemporary work infused with a classicism that came in both the palette of technique and movement and through the influences of Joby Talbot’s score.  The rolling torsos, arched backs and long, spiky extensions reminded me often of Wayne McGregor’s work (but with softer edges), an allusion perhaps helped by the influence and gathering urgency of Talbot’s music (composer of both Entity and Chroma for McGregor).     The bespoke costumes, designed by an uncredited Sarah Mercadé, were an integral element that brought an even thicker veneer of professionalism to the overall feel of the work.

 

 

Reviews 2010

 

August 2010

 

We received fantastic reviews for our debut year and have posted couple below from our various performances.

 

Cloud Festival Performing Ternion

16th July 2010

Debbie Shine - We were kicked into gear straight away with Antique Dances' Ternion which was a high-energy piece which broke down the stereotypical gender roles of dancers and saw female and male dancers performing on an equal footing. The performance was physically impressive and very slick, with a stunning solo section for the one male performer.

 

Entangled At The Actors Church, Covent Garden

6th August 2010

FRINGE REPORT REVIEW - Antique Dances are next with 'Ternion'. It has a futuristic air about it. The anticipation is exciting. What follows is a tantalising and captivating performance from start to finish. Holly Noble's choreography is daring, The dancers have a good formation at all times. They dance in coordination ...and complete impressive movements on various levels, which adds a further dimension to the piece. Holly Noble challenges the dancers and challenges the perception of where each dancer is seen to fit and the role they will play. They are pushed hard throughout the performance. They skillfully create various shapes and movements in quick succession and in slow motion at times. All the dancers produce commendable performances however, Brett Murray has an extra appeal about him. His poise and actions are tight and sharp when necessary. They are gentle and elegant the rest of the time. Coupled with his facial expressions, he draws a lot of the focus.