Sadler’s Well’s theatre, home to dance in London and for one week late September it is also home to Hofesh Shechter Company as they showcase a trilogy exposing different takes on intimacy, passion and the banality of love.
The opening piece ‘The Barbicans in Love’ reveals the six dancers in their most vulnerable and innocent form. Dressed all in white, they move simultaneously to an eclectic score of classic music and an electronic voice over interview between Hofesh himself and an intimidating interviewer. The conversation questions Hofesh’s take on love and its simplicity. The dancers are a unit of accuracy; they glide through the space as one moving in Shechter’s signature hunched shoulder posture and grounded movements.
However innocence is soon forgotten as the second piece begins, ‘tHE bAD’. Splattered with violent outpours of frustration from the dancers to dubstep music, this piece creates a very chaotic environment. The five dancers dressed in gold cat suits seem awkward and obstructive by the notions of love. The sporadic structure connotes that of a confused mind. Which coincidently ties in nicely with the title ‘tHE bAD’ (read the capitals!).
The third and final piece is called ‘Two Completely Different Angles of the Same F***ing Thing’. A duet between Bruno Guillore and Winifred Burnet-Smith, this piece seems very personal and intimate. The two dancers share passionate embraces and mimic each other’s movements showing empathy for one another.
The work comes to an end as Hofesh’s voice is heard once again and all the dancers come on stage to join the duet. They form a chorus of unity, a reminder of the frustration, innocence, and passion bought by love.
For more information visit www.hofesh.co.uk
Thursday 1st October 2015 – Author – I.P. Dincwear Dancewear Team.
Celebrating their 20th Birthday Richard Alston Company present ‘Alston at Home’ at The Place, the same venue where it all started with their very first opening show in 1994.
The show opens with a world premiere ‘Opening Gambit’, choreographed by Martin Lawrance who is also celebrating 20 years with the company! Lawrance describes this piece as his birthday present to the company saying ‘I used to love it when Richard created movement on me that flew around the space. I felt so free and abandoned – each performance and venue being a new territory/stamping ground! 20 years later I feel I have returned home with this piece’. The dancers resonate Lawrance’s wish to recreate the freedom he felt on stage when he danced for the company. Their movement is buoyant, carefree, and joyful. A fantastic opening to the show.
The second piece to take to the stage is a duet ‘Brisk Singing’, originally made by Alston in 1997. It is danced by Maeve McEwen and Michael Parmelee, These dancers are students from the University of Michigan where the piece was revived this spring. The duet speaks love, and bears similarity to Romeo and Juliet through the Shakespearian costume and romantic gestures. The duet is danced beautifully and encapsulates the audience with its delicate qualities.
The evening carries on with four more intriguing dance works, ‘Rasengan’ by Ihsaan de Banya, ‘Unease…’ by Joseph Toonga, and ‘Mazur’ a duet choreographed by Alston and danced by two male dancers. This is another world premiere in the show, and has the addition of a live pianist on stage with the dancers. It is a playful piece described as a dance of two friends sharing what they love and what they feel they have lost.
The final ending to the show is with Alston’s ‘Overdrive’ originally created in 2003. Set to Terry Riley’s score the dancers compliment the quick-witted music echoing with nippy footwork and a bright presence. They flood the stage with a sea of grey and coral pink costumes cleverly designed by Jeanna Spaziani.
Jennifer Hayes performance throughout the whole show is mesmerising and eye catching. A beautiful dynamic dancer who is a picture of joy and positive energy on stage. This was a jam-packed evening of dance highlighting the very best of the Richard Alston Company and proof as to why the company have been so successful over the past 20 years. Here’s to the next 20!
Thursday 11th June 2015 – Author – I.P. Dincwear Dancewear Team.
Dincwear Dancewear News February 2014
In our last “post” we wrote about how “Dincwear” had put all the profit from its clothing sales back into the dance world through dance shows (like ‘Revolution’ and ‘MMXI’) and sponsorships etc. This month I would like to answer the question: What is it about Dincwear that makes it so different? Or, why buy Dincwear rather than all the other dance brands?!
First, our styling is quite simply unique. Once you know about Dincwear you can spot a Dincwear item a mile off due to its “look”. This is just as well as we keep the logos on Dincwear to a minimum. (It was made quite clear to us by dancers that they didn’t want to be “walking billboards”). However, it can be a little frustrating when a star like Perrie from “Little Mix” wears Dincwear and people don’t realize it!
The second point is also one of our biggest problems. One of the reasons that we worked with the designer, Mrs Jones, is that she has a fascinating ability to make dance clothes look good while you are moving. This is very difficult to describe – but Dincwear actually “moves with” the person wearing it. You will only appreciate this fully by trying our clothing on. One of our biggest problems is that photos of our clothing do not do it justice. Our challenge is to get people to actually try it. The girls in the shop have told us many times that once people try on an item of Dincwear they love it. We have also seen this at “The Clothes Show” and “Move It”.
The third factor is the excellent quality of the clothing. We have chosen the best materials and the finest factory to produce our clothing. And this has been proven by the extremely low level of “returns” that we receive. Our “returns” are virtually zero (occasionally someone wants to change the size) whereas many of our competitors returns are running at 30-40%. The problem for us is that we have to pay a lot more for this quality than other companies. Our competitors will be buying, for example, a hoodie at £5.00 and selling it at £20 or even £25. But with Dincwear so much more of your money actually goes on the item of clothing itself, rather than excess profits for advertising/brand building etc. This is why we do not advertise but rely on “word of mouth” for our sales growth.
It is again for this reason that Dincwear does not do Children’s Wear. There is no point in making a top-quality item for a child as they will outgrow it so quickly. We are hoping that people will come to realize that spending £39.00 on a Dincwear ‘hoodie’ is much better value than spending £25 on a competitor’s ‘hoodie’, because it will last 5 times longer (and looks a lot better!). Price is what you pay but value is what you actually get.
Our boss man has worn his hoodie every day for the last 4 years – or so it seems! And it still looks good, even after his latest tumble on the forklift truck!