| London Critic: “A Triple Bill that Both Enchants and Blows the Mind" |
Surge- Gwefr: Infinity Duet, Waltz, Mabon |
| National Dance Company Wales , Aberystwyth Arts Centre & Touring , November 6, 2025 |
The economy of Wales has been to serve as exporter of raw material over completed product. As in industry so in culture; barely a big-ticket production in London has a company without a name, and a high talent, from Wales. Finished productions are fewer and rarer. Happily the National Dance Company of Wales goes against the pattern and landed at a prestigious dance venue this autumn. The critics liked what they saw of Osian Meilir and dancers at the Place this October. Indeed they liked it very much. From the British Theatre Guide: “National Dance Company Wales is full of surprises in a triple bill that both enchants and blows the mind. What an array of creative talents across the board. From art installation dance fit for the Tate Modern to science fiction to ancient Welsh myth does not begin to cover it. “Infinity Duet, only ten minutes long, whets the appetite but does and does not prepare for what follows. It’s only in retrospect that one sees how well the programme has been constructed. I think abstract expressionism in the first piece and conceptual art after seeing the second piece, but we’ll get to that in a minute. “A large trapeze wrapped in black and white newspaper and rough cord swings across a white stage. The dancers do not perform on it, but under and around it, testing its movement. Black and white are the dancer’s gorgeous costumes, too, in artist Cecile Johnson Soliz’s distinctive geometric designs. They are a kinetic part of the sculptural concept. “It’s about weight and time, the notes say, but I see children in a playground testing the limits of that swing, limbo ducking underneath it, mirroring the other, groundwork unrushed. Tonight, Jill Goh and Ed Myhill are mesmerising as the couple. Richard McReynolds’s electronica sounds industrial at times, but I read it represents the creative process, scrunching of paper and shoosh of water added to his ambient strings. “Strings are heard faintly in Sibelius’s Vals Triste—in the distance or from the distant past in Marcos Morau’s Waltz—it is what remains from the past in a weird new world, born from that past. An old, battered Beckettian (of course I’m thinking Krapp’s Last Tape) reel-to-reel tape machine hangs from the flies. Black tape unspools in a pile on the floor. “Lighting plays tricks with our vision. From this black pile, a creature stirs. There’s more than one—there are seven, head to toe in shiny, slimy, sticky-look black bodies when they finally separate from their original amoeba form. “They move as one in canon, in formation, a veritable caterpillar, later a spider, and any other insect you want to imagine. The precise sculptural moves bring back to my mind Morau’s Tundra, which I saw six years ago, his vocabulary distinctive, awesome. “A new evolution is taking place. The mixtape now has Thom Yorke’s "Suspirium", Holly Herndon’s "Crawler" and Caterina Barbieri’s "Pneuma" drowning out the waltz. Pushing it aside. The creatures slither away and return with bare feet, hands and faces. They can sit, they can stand, they can move as one, a cohort high kicking like android Tiller girls, exploring possibilities. “Morau reminds me a little of a young Wayne McGregor, though his dance language is unique. It’s another dance installation, drawing patterns on the stage—bodies sharp tools, crisp, incorporating breakdancing skills. Their muscle memory is astonishing: half an hour of synchronised repeat but with a slight variation each times. That’s evolution, too. Whither are they ‘waltzing’? The merry-go-round of life… “The white stage floor is changed to black for the final piece, Mabon, another half hour of fantasy, mythical fantasy. And the “eco-friendly animal costumes” by Becky Davies are out of this world. Welsh choreographer Osian Meilir, inspired by Welsh Myth and Welsh stories of the Mabinogion, draws on Welsh folklore characters. Now how many people in the audience know the Mabinogion, “Wales’ earliest collection of stories”? I don’t. Does it matter? Maybe not, though Mabon might point you towards finding out more. Musician and composer Cerys Hafana has written a new score. “The costumes designs feature six animals from the Welsh myth as well as draw inspiration from the Welsh landscape and heritage”. I forget to notice the dance, mesmerised as I am by the incredible costumes, depicting six ancient mythical creatures: The Blackbird of Cilgwri, The Stag of Rhedynfre, The Owl of Cwm Cowlyd, The Eagle of Gwern Abwy, The Salmon of Llyn Llyw, The Toad of Cors Fochno. “There are folk dances (could be from many parts of the world I think), round dances and a narrative, an Arthurian quest narrative we are told. Culhwch and Olwen seek the divine Mabon to release him. To find him, the lovers must seek out the six oldest animals. It’s the six animals in all their splendour we meet tonight. Apparently, triple harpist Hafana incorporated lyrics from the original medieval text. “Visually stunning: the complex masks and layered costumes make me think of Noh theatre and South American or African art. Layers are removed, masks under masks. Mabon is found and dressed regally, like an effigy, and I hear birdsong. In London for one day only in the 288-seater Place space. Why it is not sold out I can’t imagine. It deserves to be. Abridged, with thanks and acknowledgement, from the full review which can be read at: https://www.britishtheatreguide.info/reviews/surge-gwefr-the-place-25009 * * * * From Britbrief: A Symphony of Movement and Emotion “The National Dance Company Wales has set London's dance scene alight with their electrifying performance of 'Surge' at The Place, delivering what can only be described as a tour de force of contemporary movement that left audiences spellbound. "Surge' unfolds as a powerful exploration of human connection in our increasingly fragmented world. The piece masterfully navigates the tension between individual isolation and collective energy, creating a visceral experience that resonates long after the final curtain. “From the opening moments, the dancers command the space with an intensity that borders on explosive. The choreography showcases the company's remarkable technical prowess while maintaining deep emotional authenticity. The performers move as a single organism one moment, then fracture into individual narratives the next, creating a dynamic ebb and flow that gives the work its compelling rhythm. “The production's staging enhances this emotional journey dramatically. Clever use of lighting creates pockets of intimacy and expanses of isolation, while the soundscape pulses with an energy that seems to emanate from the dancers themselves. There's a raw, almost primal quality to the movement that feels both ancient and utterly contemporary. “What makes 'Surge' particularly remarkable is how seamlessly it blends technical precision with emotional depth. The dancers execute complex sequences with apparent effortlessness, yet every gesture feels weighted with meaning. There are moments of breathtaking synchronicity followed by beautifully chaotic individual expressions that capture the complexity of human relationships. “The work builds to several stunning crescendos that truly earn the production's title. These surges of collective energy transform the stage into a living, breathing entity that seems to pulse with its own heartbeat. The final sequence in particular leaves an indelible impression, resolving the work's central tensions with a powerful, moving conclusion. A Triumph for Welsh Dance. This London appearance represents a significant milestone for National Dance Company Wales, demonstrating that Welsh contemporary dance can compete on the international stage. The company has not only showcased their exceptional talent but has also proven their ability to deliver work that speaks to universal human experiences. '...cementing the company's reputation for producing work that is both intellectually stimulating and emotionally resonant. This is contemporary dance at its most vital and engaging. “For London audiences fortunate enough to witness this performance, 'Surge' serves as a powerful reminder of dance's ability to articulate what words cannot. It's a work that doesn't just entertain but transforms, leaving viewers with a renewed appreciation for the power of human connection in an increasingly disconnected world. Abridged, with thanks and acknowledgement, from the full review which can be read at: https://britbrief.co.uk/entertainment/dance/national-dance-company-wales-surge-electrifies-london.html * * * * The number of venues in Wales that have seen this production is not many. The relationship between Aberystwyth Arts Centre and the company goes back to earlier days, those of the mutual stewardship of Alan Hewson, Ann Sholem and Roy Campbell-Moore. The London writers above and others set the level of anticipation high. We were not disappointed with an artfully designed programme that rises to exuberance with “Mabon.” Choreographer Osian Meilir is a name to remember in Abersytwyth and elsewhere. His “Qwerin” was a cause for cheer in the first days of the ice breaking after the pandemic eased. “Mabon” continues in the same vein, the six dancers earning cheer upon cheer from the audience in the sold-out Theatr y Werin. Choreography credits: Infinity Duet by Faye Tan and Cecile Johnson Soliz Waltz by Marcos Morau Mabon by Osian Meilir |
Reviewed by: Adam Somerset |
This review has been read 126 times |
