Two contemporary dance pieces are here presented together by Canadian dancers. Androgynous Laila Diallo, clad in a dingy grey mackintosh, white plimsolls and lace underwear, is the first take the stage in The Wayside. Andy Downie's sparse lighting design emphasises the dancer's solitude. The warm backlight that shines as though from a door left ajar melts into a pool in which the soloist is stuck, fighting to remove herself from her noisy coat. The rasp of nylon is emphatic as, unusually, silence reigns. This struggle is the work of an elegant contortionist; a balletic Houdini. Yet aside from the cruelty of the dancer's jarring body and synthetically-masked face, this opening sequence is neither as powerful nor as original as it could be. Liala Diallo does not seem to push herself to any extremes.

What follows is an interesting sequence of varied movement; some fluid, some more reminiscent of a sexual scrabble or frenzied body-popping. There is plenty if engaging activity, but neither gorgeousness nor special wonder. But this is set to change. Phil Kirk's soundtrack swells. A heavy beating drum gives way to what sounds like a jet plane taking off. This mesh of sounds levels and breaks into Pa'llegar hasta tu lado, Lhasa de Sela. The melodic foreign voice and radiating red light which bathes the stage from the side, come together enriching the production and Laila Diallo's performace. This now really comes into its own. A frantic ballroom dance with an imagined partner has the fierce energy of a whirling Dervish. The excitement and playfulness that the show has been lacking is found in these moments of utter physical glee. This strobe-like movement is compelling to watch.

Matthias Sperling's Riff opens, contrastingly, in bright light. Again, Andie Downie's simple lighting works to the performer’s advantage. The black studio curtains are pulled back and Matthias Sperling stands off-centre, the focus of a bright white canvas. His slight frame, though dwarfed by the stage, stands proud, challenging the emptiness. Again the action commences in silence. The soloist embarks upon a series of what seem like fractured Indian fight dances. His heavy breathing suggests more power than his body though; there is a little too much hot air. Meanwhile names appear in orange lighting on a digital sign. The connection between the dancer and these names is not entirely clear. The programme notes are necessary: this is a mix-tape of dances - Mathias Sperling has played dance DJ with Liala Diallo's Out Of Sight In The Direction Of My Body, Shobana Jeyasingh's Transtep, and William Forsythe's Solo.

Once more this is a slow-to-start piece which burgeons into something fascinating. Matthias Sperling has awesome control of his body. The powerful moment of utter stillness before he walks toward the audience, a sly smile on his face, is captivating after the unsatisfying self-defence sequence. Andie Downie's lighting design breaks with the music. The dancer is given a box of orange light and a strong rhythm to work with. Both these challenge him. The synthesis of light, sound and movement is as satisfying as it has always been. The works of the choreographers now intertwine as well, while their names do so on-screen. Finally the performance has taken off, but it is now nearly over.

The difficulty with both The Wayside and Riff is their lack of clear narrative, and the absence of the physical wonder and originality which would have compensated. The soloists both dance excellently, but almost passionlessly. There is technical excellence, but no wow.

Cast Credits: (The Wayside): Laila Diallo. (Riff): Matthias Sperling

Company Credits: (The Wayside): Choreographer - Laila Diallo. Costume Designer - Theo Clinkard. Original Lighting - Andy Downie. Original Soundtrack - Phil Kink. Sound Operator - Grahame Coyle / Liam Boucher. (Riff): Choreographer - Matthias Sperling. Original Lighting - Andie Downie. Original Sound Score - Scanner. Sound Operator - Grahame Coyle / Liam Boucher. (Both): Producer - uncredited. Company - Laila Diallo & Matthias Sperling.

END

(c) Rebecca Gibson 2009

reviewed Saturday, 08 August 2009 / Dance Base, Edinburgh

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com