Run by the 2faced Dance Company is, in fact, a collection of three different pieces: all emotive, potent and wholly individual.
The opening piece, which is also the longest, is entitled ‘From Above’. The set, consisting of three large industrial panels hanging over the stage, can best be described as intimidating. The placing of the opening dancer underneath these panels immediately draws you down to his level, creating an oppressive atmosphere that underlines the dance.
Moving fluidly, but somehow in staccato rhythms, ‘From Above’ follows the dynamic relationship between four dancers. At times the men move in incredible synchronisation, at others with slight syncopations, and sometimes wholly individually when the characters are each allowed their time to develop and shine through. The strength of this piece lies in the moments of vulnerability. This allows for beautiful movements that create relationships between the men, at times bordering on the homoerotic. The set is as dynamic as the dancers with the hovering panels suspended on chains that can be moved to alter the perspective, becoming disorientating at times, cleverly relating to the fluctuating closeness of the dancers.
The second piece has big shoes to fill, but does not disappoint. In contrast to the first this dance, entitled ‘The Other’, is humbler with only 2 dancers and a set developed with only portable lamps. The dance follows the tale of an immigrant and his entrance into a foreign land. Although shorter, this piece wastes no time in getting straight to the meat of the matter. This section, choreographed collaboratively between Rebecca Evans and the dancers, holds the most individual choreography, ingeniously using lights to create distorting shadows and open and close the space. You never want this part to end, constantly leaving you guessing at each turn with new and innovative motions.
Run ends with ‘Fallen Angels’, perhaps the most abstract piece of the three. This dance addresses the conundrum ‘is it imaginary demons entering us or is it us becoming demons?’ In place of music, there is a large number of sound effects: a typewriter, heavy breathing, unrecognisable clatters, contributing to a discombobulating atmosphere. It is overwhelmingly disturbing, for example, when the dancers distort themselves into insect-like shapes, or when they use water to drown each other in rains of spit. At times perhaps too far beyond the realms of understandable, this piece certainly succeeds in tapping into your inner disturbances, leaving you tingling with discomfort as you step out into Bloomsbury.
Run played at The Place, Bloomsbury until April 5.
Photo: Luke Evans