Phoenix is a contemporary dance company based in Leeds. It shares its home, in fact the same building, with Northern Ballet Theatre. Over the past thirty years, since its inception, it has grown to become a leading light in contemporary dance with a big reputation.
Mixing the old with the new is something the company’s artistic director, Sharon Watson, has made a feature of in the company’s repertoire since she took the helm in 2009. It has gone down well with audiences and critics alike and this Mixed Bill is no exception.
The evening began with See Blue Through. Choreographer and ex-Rambert dancer Didy Veldman originally made this piece for Ballet Gulbenkian in 2001. When that company folded in 2005, it was adopted into the repertoire of Phoenix and quickly became an audience favourite.
Intended to evoke a scene from deep in the ocean, dancers are dressed in close fitting white t-shirts and tights against a black stage. Six bodies move in sync at first, and then separately. A ripple effect passes through the group and all but two dancers fall away leaving space for a playful duet.
It soon becomes apparent the costumes are stretchy enough to extend across the entire stage and humorous moments begin to punctuate the movement as other dancers join and leave again. A sleeve is caught and pings a dancer back to his partner; one dancer buries her head under another’s shirt; arms are lifted and a top almost removed before the dancer sidles off awkwardly as though part emerged into a new organism. This clever use of costumes brings these ocean creatures to life, as does the choreography. At times they lay back, arms and legs raised but gently undulating, giving the impression of floating on the tide. The whole piece is charming and feels much shorter than its 20-minute duration.
Following an interval, Document is a sharp contrast. It’s new – created this year by choreographic partners Uri Ivgi and Johan Greben – and portrays a turbulent scene in which five dancers fight a constant battle with their emotions. There’s a sinister feel and the music gives the impression of a clock ticking, or perhaps it’s a heart beating, louder and louder, forcing them to respond. And they do respond with jolting movements, jogging back and forth and then squirming on the floor. There’s no escape.
The highlight of the evening comes with Mapping. This is also new, but was created by an important figure in Phoenix’s history. Darshan Singh Bhuller, a well-known and respected choreographer, directed the company from 2002 until 2006. This marks his first return.
It is inspired by his father’s journey from East to West and features several atmospheric tracks by Foo Fighters’ favourite, guitarist Kaki King. At first the dancers move quickly, running, arms swirling, it’s chaotic and evocative of busy Indian streets. The dancers are literally on top of each other and in each other’s faces. Even the audience get a series of close-ups thanks to a handheld camera and video screen. To mark the transition, a line is laid down and the dancers walk across as though it’s a tightrope. At this point the performance also switches from being three dimensional, to us seeing the dancers in two dimensions and from above. The last 15 minutes is truly a delight and the choreography throughout is clever, funny and refreshingly different.
Enthusiastic applause confirmed that the audience enjoyed the evening, as did I, but I felt a little sad to see the Playhouse only three quarters full for Phoenix. The company deserved a better turn out, especially as one of the few top dance troupes hailing from ‘oop north’. Next time perhaps. Come on Nottingham!
Phoenix Dance Theatre performed at Nottingham Playhouse on Wednesday 19 November 2014.
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