Fortrose Community Theatre, 27 February 2007

Presenting a programme of new and specially commissioned work X Factor Dance Company performed to a packed and appreciative house at the Fortrose Community Theatre as part of their National tour.

Artistic Director Alan Greig and the X Factor dancers choreographed the first half of the programme “Ragnarök” using a Viking legend as a departure point. Music by Paper Collective with writers Toby Shippey, Quee Macarther and Tim Mathew combined throbbing industrial beats with the human voice and sound effects to create fragments of movement, stillness and intimacy visualised in the body of each dancer and costumed in red.

Episodic in nature but resisting narrative interpretation the choreography contrasted moments of beautifully crafted caress, posture and tension with the energy of dynamic groupings of dancers, placing the whole ensemble centre stage. The athleticism of the dancers, being in a venue intimate enough to see their sweat and hear their breath gave immediacy to the performance.

The most memorable vision of the evening however came in the second half with choreography and art direction by Philippe Decouflé. Responsible for the Opening and Closing ceremony choreography for the Olympic Games in Albertville, France in 1992 Decouflé’s work here in “Morceaux Choisis” is characterised by its ingeniously simple staging, fluidity of movements and surreal humour. With music from Sébastien Libolt, My Bloody Valentine, Cir-Kus, Parazite and the Chemical Brothers the soundtrack moved from opening cello and piano, strands of accordion, old gramophone record with a world music twist, dreamlike chimes to radio frequencies and pounding syncopation.

Each section was distinct and frequently laced with humour. There was beautiful subtlety in Decouflé’s movements and fluidity between each piece that made each section equally part of the whole, even with complete contrasts of mood and sound. The classically inspired Indian dance movements and the framing of facial expressions accompanying the old gramophone were full of languid suppleness and the imaginary effect of humidity.
“Morceaux Choisis” had a breadth of visual and cultural vocabulary and an understanding of the art of performance that set it apart from the first half of the programme.

A liquid white curtain provided what at first seemed like a canvas of shadows of the dancers in front of it, it was in fact the silhouettes of dancers behind at first mimicking the movements of those in front then revealing themselves in counterpoint. The shadows though real seemed projected, dancers magnified and reduced in scale simultaneously interacting with comic effect. The surrealist preoccupation with the eye which took on a menacing aspect earlier in the performance morphed into a sea-like creature. The influence of circus performance, photography and film was richly evident in Decouflé’s art direction.

Always engaging X Factor’s latest tour is no exception and it was wonderful to see a mix of ages including teenagers and dance students in the audience. I hope that when Eden Court reopens developing this young audience for Contemporary Dance will continue with performances by national and international companies a strong component of its future programmes.

© Georgina Coburn, 2007

Link

• X Factor Dance Company