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Danceforms' 60th International Choreographers' Showcase

Holding the attention of an audience for an hour of dance, especially with a mish-mash of different styles, can be a challenge. Granted, this performance is a ‘showcase,’ highlighting work from multiple ‘distinguished choreographers,’ so I was expecting to see variety. However, the end result is a show lacking identity, splattered with some shining performances which were few and far between and I found my mind drifting off during certain solos.

The show presents five unrelated, and uneven, pieces of choreography. We are welcomed in by a solo performance by Emma Draves who performed her mix of ballet, contemporary and classical Indian dance with polish and beautiful control. However, the accompanying chimes of music left me rather cold, reminding me of sounds one might hear in a spa whilst receiving a stress relief massage. For me, the highlight of the show was a section titled ‘Come Change,’ performed and choreographed by Vincent E. Thomas. The only piece in the concert using text, Thomas completely drew the audience in with his frank address and honest discussion of quotidian stereotypes and labels. This thought-provoking monologue linked seamlessly to his movement, an exciting fusion of street and contemporary dance. Recognizing his passionate performance, the audience whooped and cheered as his section came to an end - far too early for my liking. I would recommend this show if only to see his inspiring piece of choreography.

The other pieces were interesting and diverse, but didn’t strike the same emotion for me as Thomas’ solo. There were flashes of fluidity and grace from energetic partner work when dancers effortlessly rolled into each other’s movements, building up a stimulating momentum. These moments were deeply satisfying, and I was a disappointed when the energy dropped. Overall, the concert is an enjoyable experience, full of passion and talent, yet nothing presented was remarkably innovative. I feel Danceforms could have pushed the boundaries further to really live up to their ‘award-winning’ hype.

Since you’re here…

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Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
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Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
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Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
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The Blurb

Award-winning US and international choreographers present a high-energy blend of avant-garde works. Dancers enjoy the beauty of Susana B Williams's brilliant choreography with superb musical composition by Gabrielle Roth and the Mirrors. www.danceformsproductions.com.
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