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The Rodin Project – Review Compilation

The Daily Express

Sunday November 4,2012

5 stars by Jeffery Taylor


RUSSELL Maliphant is now Britain’s leading modern dance creator. Two years ago his AfterLight won awards right left and centre and I believe his Rodin Project will top even that.

The new work is based on the French sculptor’s gift for creating movement as well as exposing his bronze and marble subjects’ most passionate feelings.Within this mystery Maliphant finds a truth about moving to music that takes your breath away. His steps include a strong element of gymnastics, particularly in a gripping fight between Tommy Franzenand Thomasin Gulgec.The curtain rises on a black cavern, illuminated centre stage is a white evocation of a Greek temple. A crumpled sheet hangs above a dishevelled mound of slopes and shapes. Three languid women (Ella Mesma, Carys Staton and Jennifer White) dressed in short tunics draw back the hangings and wait for the men.

Franzen, Gulgec and Dickson Mbi appear and join up in an erotic adagio, portraying inanimate statues into which Maliphant magics flesh and blood. Irresistible.

In the second half, the action is modernised. Held up for closer inspection is the harsh reality and hidden soul of Rodin’s work.

Then there is another extraordinary duet between Franzen and Gulgec. In slow motion they glide up and down, sometimes in a question and answer fugue, others harmoniously together, always searching, endlessly listening.

Maliphant’s The Rodin Project is a unique contribution to the art of dance.

Verdict: 5/5

The Evening Standard

5 stars

Russell Maliphant’s new work opens, appropriately enough given the artist who inspired it, like a fin de siècle fantasy of classical Greece.

In a sumptuously sleazy atelier, hung with fabrics, six figures arrange themselves on what looks like a huge bedsheet flung across a mountainous heap of cushions. The symbiotically responsive glow of Michael Hulls’s lighting is already starting to fragment their bodies, isolating muscles, limbs and lines of tension in a way that gets more aggressive as the dance evolves.

The men are dressed like fighting slaves in diaper-loincloths, and the women like racy priestesses. As Alexander Zekke’s specially commissioned cello score slowly yearns for something it can never quite place, they model as athletes and wrestlers, sirens and waterbearers.

Tommy Franzén, a human rubber ball recently seen in Some Like It Hip Hop, engages Tomasin Gülgeç in a circling, capoeira-style contest just after being puppeteered across the stage by Jenny White, using rods of the sort on which sculptors impale clay limbs to hold them in place. The sublimation of piercing and control, as coldly erotic as it is beautiful, would have thrilled the heart of J G Ballard.

At the start of the second part the clothes are modern and the fabrics stripped away, revealing metal walls and ramps, like a brutalist playground in a nursery school for free runners. The dancers hang, slide, tumble and contort themselves, while the choreography shapes a language of delight from a vocabulary of torment.

With The Rodin Project, Maliphant has made something formal enough to satisfy the Académie, and sexy as (the Gates of) Hell.

Dancetabs

By Jann Parry

Russell Maliphant's <I>The Rodin Project</I>.<br />© Laurent Phillipe. (Click image for larger version)

Rodin, like Degas, frequently sculpted dancers in action, leaving the statuettes roughly finished rather than sleekly polished (unlike some vile modern figurines  of ballet dancers). They were trying to capture transient moments in solid, static images – far harder than a choreographer turning those frozen forms back into movement.

Rodin’s art and life have been the subject of many ballets – at least four in recent years, inevitably involving his love affair with the sculptress, Camille Claudel: all too easy for a choreographer to recreate her as the model for The Kiss, or for a Muse or Nymph. Russell Maliphant mostly avoids the obvious in The Rodin Project by insisting in a programme note that the piece isn’t biographical: ‘It’s about the inspirations that we take from Rodin and what inspired him’.

In Afterlight, Maliphant and his lighting designer, Michael Hulls, animated Nijinsky’s obsessive circular drawings into a remarkable swirling solo for Daniel Proietto. Nijinsky’s troubled musings were spun into dance. In The Rodin Project, Maliphant and Hulls transform dancers’ flesh into plaster, marble or bronze as they assume poses from Rodin’s sculptures. Spectacularly top-lit, their lithe bodies lack the rough-hewn power of Rodin’s creations (or Claudel’s). Only in the second part of the piece, referring directly to Rodin’s The Gates of Hell, do the dancers accomplish the feverish, off-balance movement the sculptor worked for 30 years to immortalise.

The Project is split into two halves: white, soft and slow; dark, hard and fast. In the first half, Es Devlin’s sloping set suggests an artist’s studio. Heaps of cloth used for clay and plaster modelling are piled high; swathes of suspended fabric are pulled aside to drape women’s bodies. Since the women already wear mini-togas and the men are in loincloths, they presumably represent the classical statuary that Rodin studied. Alexander Zekke’s assertive score sounds like the scrapings and tappings of chisels.

The choreography seems to evolve from conventionally graceful arm-wavings for the three women to warrior-like encounters for the men . En route we see the erotic intertwining of The Kiss couple and the incarnation of statuesque Dickson Mbi as The Thinker. Everything happens hazily in slow motion, preparing for Rodin’s monumental vision of the chaos of Dante’s Inferno in the second half.

Now the six dancers are either in street clothes or virtually naked. The set, stripped of its sheeting, is all hard angles with a steep wall at the back. The unyielding surfaces serve as slides and diving boards for parkour acrobatics. In The Gates of Hell figures writhe and tumble in high relief around the frames of doors Rodin designed for a museum entrance. The effect is so destabilising that it’s hard to tell whether the damned souls are climbing or falling. Rodin recycled some of the figures as stand-alone statues, including the crouching Thinker – maybe originally intended as Dante.

Russell Maliphant's <I>The Rodin Project</I>.<br />© Laurent Phillipe. (Click image for larger version)

Maliphant isolates his dancers in sequences punctuated by blackouts, as though featuring different aspects of Rodin’s creations. After a virtuso group display of leaps, spins and rolls over each others’ bodies and the set, there’s a sudden stillness. Hulls’s golden lighting sculpts a nude female body in sensual curves and dusky folds. The men come forward to arrange her positions on a plinth – a lapse of judgement on Maliphant’s part. They’re wearing cloaks that make them resemble The Burghers of Calais, or Rodin modelling Camille. Once they’ve gone, the music goes soulful for her fluid, lonesome solo: beautiful but verging on dance as look-at-me-art. (For a spectacularly bad example, see Boris Eifman’s Rodin ballet on YouTube.)

Then it’s the turn of Dickson Mbi to become a Rodin bronze, which he does heroically. He’s the most anguished soul of all, striking knotted poses and bringing different muscles into play, burnished by light from above. Tommy Frantzen springs into action in an athletic solo, fusing breakdancing and capoeira as though he were molten metal. The music, harsh for the group’s tumbling, eases into jazzy droning. The women, three graces or shades, mark time by the back wall, three muses or shades.

The climax of the entire piece is a breathtaking duet for Franzen and Mbi, treating a vertical surface as though it were the floor – the disorienting device of Rodin’s doorway. As if magnetized, they cling to the wall and each other’s bodies, changing places and defying gravity until Frantzen hangs down Mbi’s back. The duet starts and ends with Frantzen perched on top of the vertiginous wall. The piece should finish on the high note of the duet. Instead, there’s a group finale with supplicant hands (Rodin sculpted lots of pairs of hands) picked out in light.

The Rodin Project suffers from the same structural problems as Maliphant’s expanded Afterlight. He’s poured his and his dancers’ creative energies into a superb solo or duet. Then he’s added sequences for more dancers based on improvisation around an artist’s life and work in order to make a ‘full-length’ evening of dance. Though Hulls’s mesmerising lighting skills help make the various aspects cohere, they still have the feel of workshop segments filling out the music until the real reason for the piece arrives.

The Upcoming

5 Stars by Alice Audley

Inspired by the controversial French sculptor Auguste Rodin, award-winning choreographer Russell Maliphant has directed yet another extraordinary dance performance – The Rodin Project.

1

Opening in Angel’s Sadler’s Wells Theatre, Maliphant’s production was both fascinating and exhilarating, while also deeply unnerving. Gentle stroking, elegant spinning and torsos intertwining romantically one minute were harshly juxtaposed with jutting spines, angled limbs, writhing bodies and rasping rib-cages the next.

In particular, dancer Dickinson Mbi’s (who was spotted by Maliphant just last year at Sadler’s Wells) manipulation of his body made for addictive viewing. His shoulders parted from his neck, his legs wandered from his hips, his back curved from his stomach in a series of completely disconnected, yet utterly connected human expressions. His body appeared possessed, lost and out of control, yet he was controlling it.

Designed by Es Devlin and Bronia Housman, the set had three main changes. At the performances’ opening, the audience were softly brought into a white calm space. Four large drapes hung from the top of the set to the bottom (upstage) – their ends tickling the stage floor happily, behind which rested a jigsaw of blocks: some smooth, some edged and all white.

The three female dancers stepped on to stage in costumes, designed by Stevie Steward, that directly reflected the set – white togas, tied loosely around their shoulders, midriffs and waists. They looked like Vestal Virgins as they slowly peeled back the four giant pieces of cloth. Peeling aside the purity, calm and relaxed pretense of human nature for the demonstration of the raw actual interior of being that Maliphant was about to thrust us in to.

2

The second set was black – all cloths, drapes and white material were removed. The jigsaw centerpiece, that had been softened by its cover, now stood stark and angular. The dancers surrounded it, not so much approaching the stage but hunting it. Eerie, inverted and tumultuous, the dancing predators preyed on each other, replicating segments of movements in a perfect organisation of the disorganised.

The third set still had jigsaw-effect cubes and remained black, but it also featured an eight-foot wall, on which the homoerotic laced, anti-gravitational routine of dancers Tommy Franzen and Dickinson Mbi performed a routine that rendered the audience mute and gained a standing ovation. A testament to the physical and mental strength of the human being, the piece, tinged with rejection and resilience, was exceptional.

Visible throughout the entirety of the production were the fleeting bodily reincarnations of Rodin’s works – The Thinker, The Walking Man, The Age of Bronze and most hauntingly, The Gates of Hell – were all scattered among the dancers and were brought ever so much more to life by the ethereal lighting of Michael Hulls.

3

This lighting combined with the scratching, uncomfortable and brilliant music from Russian composer Alexander Zekke, unfolding Maliphant’s story further than pure dance ever could. Near the end of the performance, the six dancers stood by beams of thin white light and desperately grappled with their hands trying to take a hold of it. It was as if the light was divine understanding and, like the dancers unable to contain it, it was as if Maliphant was saying that although we can get glimmers, we will never be able to control or fully understand life.

From poised, chaste Vestal Virgins, to a naked temptress; from a testosterone-fuelled, neanderthal-esque fight, to a homoerotic scene of repression – Maliphant’s The Rodin Project captures the contrasts and angles of human nature, in a performance that is truly magnificent.

Verdict: •••••

 

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Review Compilation of “Flash Mob” at Edinburgh Festival 2012

Pre-Review…Dance shows have never really featured as much at the fringe over its million years unlike it does now. With a variety of hugely popular dance shows on TV the public demand for more dance shows has meant they now have the chance to not only get created but to tour and feature at the worlds biggest fringe festival.

This year “Flash Mob” is on a path to becoming the most talked about dance show of the fringe 2012. Filled with performers from all spheres of the dancing work “Flash Mob” has been causing stirs and now there is an opportunity to see why.

Though this was only day 2 of their shows at Assembly Festival main hall the early technical problems could have been more problematic than they where. It did get a little uncomfortable to see the dancers have to restart but it didn’t seem to faze the audience and they quickly managed to get it fixed though throughout the show there would still be a few glitches which I only mention do to the emotional beauty that these dancers showcased last night.

The ability, skill, and wonderment that each of the different dancers brought to the show was remarkable but I only had two issues. The first was a lack of story – the dancers are at the very top of their game and produce such a mesmerising spectacle on stage their different ability and skills could have been woven into a different narrative. The second issue was that the female dancers where not given their own section like the male dancers had been. As performers each of the women dancer showcased, grace, strength, and beauty in such a remarkable way and should have been able to move away from the male dancers and given their moment to shine.

A Contemporary  Move

When the Olivier Award nominate Tommy Franzen came on stage to perform a tough and physically brutal and honest contemporary piece the show change. In a stunning display of skill and ability Franzen showed just why he is an Olivier Award nominated performer. It was a heartbreaking piece to watch as Franzen moved in perfect balance with the music, his body wrapping around every note heard creating something truly breathtaking.

The whole piece was inspiring.

Link to the original article http://www.thenewcurrent.com/2012/08/04/edinburgh-fringe-festival-2012-review-flash-mob/

 

The Scotsman -  5 stars

Dance review: Flash Mob, Assembly Hall (Venue 35), Edinburgh

Flash Mob includes jaw-dropping moves from a talented ensemble of performers.

By KELLY APTER
Published on Monday 6 August 2012 16:39

FOR every self-indulgent, esoteric, audience-alienating dance show ever performed, Flash Mob is the antidote.

Flash Mob

Assembly Hall (venue 35)

Rating: *****

Don’t be confused by the title – this is no shopping-centre gathering where those around you suddenly burst into synchronised movement. This is a dance mob that’s flash – although for “flash”, read talented, hard-working and completely dedicated to their craft.

For those who think commercial dance means leaving your artistry at the door, then the five acts brought together to create this Fringe highlight are ready to prove you wrong.

Most of them have come to the public eye via television, reaching the finals of one of the recent glut of dance programmes re-igniting the genre.

Tommy Franzén is probably the best known, having been runner-up in the 2010 series of So You Think You Can Dance? and, fittingly, the production opens with him in a spot-lit solo.

But this is no one-man show. Flash Mob is a celebration of dance and the many wonderful forms it comes in. Known mainly as a hip hop performer, Franzén also does a nice line in contemporary dance, with some reflective work peppered with breakdance moves. When it comes to contemporary, however, Alleviate are the stars of the show.

Nicolette Whitley and Renako McDonald were runners-up in 2011’s Got To Dance, and their two heart-felt duets, one of which uses the Eminem/Rihanna song Love The Way You Lie to great effect, are joy to watch.

Having only recently made the final in this year’s Got To Dance, A Team has yet to make a name for itself in the way Diversity and Flawless have, but this slick hip hop crew deserves to. Four men and one woman switch from one soundtrack to the next in the blink of an eye, throwing in some impressive back-flips to warm up the crowd.

A superb and utterly spellbinding Irish dance duo, Brosena (also from this year’s Got To Dance), and sensual Latin couple Mike Viry and Yunaisy Farray, complete the bill, widening out the dance genre further, with Viry in particular providing some jaw-dropping moves.

It’s this pick-and-mix quality that makes Flash Mob such a great ambassador for dance as a whole. The only problem with the show is it lasts just an hour. With such joyous talent and variety on offer, that could easily have been doubled without fear of boredom.

Link to the original article http://www.scotsman.com/the-scotsman/scotland/dance-review-flash-mob-assembly-hall-venue-35-edinburgh-1-2453185#.UB_vjhP9FSw.twitter

 

The Independant – 4 Stars

Flash Mob, Assembly Hall, Edinburgh

star number 1star number 2star number 3star number 4star number 5

Thursday 16 August 2012

When the dancers of Flash Mob ask the audience to join in with a dancealong routine, they get a giggly, enthusiastic response. It’s a happy ending for a friendly show that brings together dancers from various reality TV dance series, in styles from hip hop to Irish dance.

The dancers create their own numbers, which makes for variable choreography but warm, committed performance. Some routines have the cheesy openness of a 1980s dance movie: there’s big emoting and swoopy moves from contemporary duo Alleviate. Irish dance duo Brosena have a very Eurovision soundtrack, but match it with sparkling footwork. Mike Viry and Yunaisy Farray, who appeared in the movie Streetdance 2 3D, ripple and undulate through Latin numbers, hips and shoulders boggling.

The stellar performance comes from Tommy Franzén, recently nominated for an Olivier award. He shows both his street and contemporary dance sides, from weighted, curling moves to a sugar rush of a routine to the Jackson 5. He leads a cheerful rehearsal number with the other men, trying out styles and pretending to pinch each other’s showiest moves.

Link to the original article http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/flash-mob-assembly-hall-edinburgh-8052984.html

 

The Independent

Flash Mob – Edinburgh festival review

Flash Mob

Bouncy and aspirational … Flash Mob’s performers have been culled from TV reality shows. Photograph: Murdo Macleod for the Guardian

Britain has apparently become a nation of dancers, or at least a nation addicted to TV dance shows. The finale of this short, entertaining production sees the entire audience getting to their feet in response to instructions from the stage, uniting in a mass hand-jiving, hips-sashaying dance.

The selling point of Flash Mob is that its performers have been culled from TV shows, with headliner Tommy Franzen, a finalist from BBC1’s So You Think You Can Dance. What makes Franzen a star, however, has little to do with his screen celebrity: it’s the skill and musicality of his dancing.

His style is a mix of choppy footwork, one-arm balances and slippery dives, all delivered with a manner that’s part hip-hop homeboy, part music hall comic. On top of this, Franzen can layer elements of contemporary dance, jive and ballet, and phrase it all with such rhythmic acuteness that every move has a three-dimensional expressiveness.

Franzen alone is worth the price of a ticket – but unfortunately everyone else on stage ranks in very sharply descending order of appeal. My favourites are Irish dance duo Brosena, particularly their belter of an opener, which features a hip-hop version of Beethoven’s Fifth driving their feet to an intensity of swivelling, criss-crossing speeds.

A-Team deliver some tight and tough street routines, fronted by tiny schoolgirl Suki, whose speciality is balancing on one leg and jabbing the other high in the air, an angelic kung fu master in trainers.

Mike Viry and Yunaisy Farray look out of place, however, their strenuous sultriness imported from late-night Cuban cabaret; while contemporary dance couple Alleviate need to find better choreography than their literal-minded duets of sex and heartbreak.

Still, the bouncy, aspirational style of the show is hard to resist. The evening I saw it, one small child refused to leave her spot as the theatre emptied, still rapturously going through the closing flashmob dance.

Link to the original article http://www.guardian.co.uk/culture/2012/aug/17/flash-mob-review?newsfeed=true


Our 5 star review in The Evening Standard of “The Rodin Project” at Sadler’s Wells 5 February 2012

The Rodin Project / Russell Maliphant Company – review

6 Feb 2012

5 stars

Russell Maliphant’s new work opens, appropriately enough given the artist who inspired it, like a fin de siècle fantasy of classical Greece.

In a sumptuously sleazy atelier, hung with fabrics, six figures arrange themselves on what looks like a huge bedsheet flung across a mountainous heap of cushions. The symbiotically responsive glow of Michael Hulls’s lighting is already starting to fragment their bodies, isolating muscles, limbs and lines of tension in a way that gets more aggressive as the dance evolves.

The men are dressed like fighting slaves in diaper-loincloths, and the women like racy priestesses. As Alexander Zekke’s specially commissioned cello score slowly yearns for something it can never quite place, they model as athletes and wrestlers, sirens and waterbearers.

Tommy Franzén, a human rubber ball recently seen in Some Like It Hip Hop, engages Tomasin Gülgeç in a circling, capoeira-style contest just after being puppeteered across the stage by Jenny White, using rods of the sort on which sculptors impale clay limbs to hold them in place. The sublimation of piercing and control, as coldly erotic as it is beautiful, would have thrilled the heart of J G Ballard.

At the start of the second part the clothes are modern and the fabrics stripped away, revealing metal walls and ramps, like a brutalist playground in a nursery school for free runners. The dancers hang, slide, tumble and contort themselves, while the choreography shapes a language of delight from a vocabulary of torment.

With The Rodin Project, Maliphant has made something formal enough to satisfy the Académie, and sexy as (the Gates of) Hell.

Returns in October (0844 412 4300, sadlerswells.com)

To view the original article click HERE!


Some Like It Hip Hop – review compilation 2011/2012

THE GUARDIAN – THE OBSERVER

By Luke Jennings.

Great dance theatre doesn’t come about by accident. It’s born of constant experiment, reassessment and refinement. Some Like It Hip Hop was written, choreographed and directed by Kate Prince as a follow-up to her phenomenally successful Into the Hoods, which opened in the West End in 2008. The new show is Prince’s take on Billy Wilder’s 1959 film comedy Some Like It Hot, and tells the story of Jo-Jo (Lizzie Gough) and Kerri (Teneisha Bonner), who drag up as men to get work in a dystopian city in which books are banned and women permitted only the most menial of jobs.

When the piece opened for a short season last October, its strengths were immediately apparent. Prince’s choreography scintillated, DJ Walde and Josh Cohen’s score was full of wit and snap, and a strong cast led by Gough, Bonner and Tommy Franzén carried audiences with them from curtain-up. But there were structural flaws. The exposition was unclear, the plotting over-elaborate and the characterisation at times unsubtle. After a limited season it was back to the drawing board.

Eleven months later Prince has got it dead right. The show works at every level, as satire, parable and romcom, and from the first appearance of Ross Green’s wry narrator unfolds with luxurious, rapid-fire precision. Gough, with her hornrims and blonde bangs, projects an eager, goofball charm, and Bonner, who can lay serious claim to the title of hip-hop dance’s hottest female star, is all slinky ripple. Once inside the city and dressed as men – hilariously unlikely men, it has to be said – the pair acquire a pseudo-masculine swagger that ruthlessly sends up the unreconstructed crotch-scratching, cigar-chomping machismo they encounter.

In numbers such as It’s a Man’s World and The Rules of Seduction it becomes clear that part of Prince’s intention is to use humour to send up some of the negative attitudes still prevalent in the hip-hop world. As she says, she’s “strongly against misogynistic lyrics, homophobia, violence and materialism”. So the pleasures of book-learning are extolled, the oppressive get their comeuppance and sexism and arrogance get a firm boot in the seat of the pants. A comically ambiguous scene in which Natasha Gooden’s Oprah flirtatiously pursues Kerri in her male guise reminds us of the debt owed by Wilder’s film to Shakespeare’s Twelfth Night.

What sets Prince apart from other hip-hop choreographers is the genius with which she uses the idiom to define character. So while Duwane Taylor’s tyrannical Governor krumps with quicksilver speed while rooted to the spot, a study in internal contradiction, Franzén’s sweet-natured Simeon is in constant, irrepressible motion. Technically this is a very strong cast indeed – Robert Anker’s barrel-rolling flips had the audience gasping in disbelief, and Shaun Smith’s irrepressible Sudsy seemed to be made of rubber – but in the end it’s Franzén’s wit and timing that carry the day. He has the insouciance and the throwaway musicality of a latterday Astaire and a self-deprecating warmth that carries the audience with him every step of the way.
LONDONDANCE.COM

By Graham Watts

Reviewed: 25 September

It’s hard to imagine a shape or movement of the human body that did not cycle at top speed through the well-toned physiques of the ultra-enthusiastic cast of Zoonation’s Some Like It Hip Hop at Tuesday night’s performance. The show is now in revival at the Peacock Theatre after a successful run last year. On one level it’s a rather puzzling creation; a sort of amalgamation of a musical fable and a contemporary version of a dance revue, but it basically boils down to an excuse for a bunch of prodigiously talented young dancers to show off their breakin’, b-boyin’, street, pop music video, acrobatic ambitions. And this they do with enough energy to power a small city for at least a week.

Some Like It Hip Hop is definitely a dance extravaganza first and a book musical second. Although many of the songs are real toe-tappers, they sound suspiciously similar to the pop chart toppers of recent years, and the story, well, I kept getting confused. The story purports to be a cross between Some Like It Hot, the Marilyn Monroe classic directed by Billy Wilder, and Shakespeare’s Twelfth Night, but despite some undercover cross dressing, thematically I didn’t see all that much of either. It seems that the governor of a kind of post-industrial fairy tale city got grumpy one day and in a move of seriously totalitarian megalomania extinguished the sun, burned all the books and banished all the women in his jurisdiction to either exile or humiliating subservience to the men folk.

The evil consequences of this were narrated by an everyman figure (Ross Green), and expressed through angrily executed, snappy breakdance moves and a sort of swiftly angular sign language reminiscent of voguing. But underdogs abound in this cartoon dystopia and we are soon introduced to a gaggle of plucky protagonists who both defy and perpetuate stereotypes as they boldly protest the regime and dance their way into getting kicked out of the city, dance their way back in again, and then do it again. It seems that to like books and be smart you must wear a cardigan and thick-rimmed glasses, and as a girl you might be plenty clever and gutsy but still go all dumb and gooey when a good looking fella comes along. Serious social commentary this is not.

But in an interview in the programme, Zoonation leader and creator of Some Like It Hip Hop, Kate Prince says that entertaining her audience is her number one priority, and this she surely did with the help of her exuberant proteges. The individual and group numbers were so dense with lightning fast movement that the dancers would have seemed a blur had they not been nailing right on the head and with exacting precision, every shape and tricky combination. The whole group is remarkable for this, but Tommy Franzen of So You Think You Can Dance fame, is such a magnetic performer that he nearly stole the show right out from underneath the rest of the crew. Even in the big group numbers he shone as though he was veritably lit up from within, making it almost impossible to watch anyone else. I don’t know what he has for breakfast but we should all be on it.

There seemed no other option but to stand up during the protracted and bubbly curtain call, and the encores just kept coming as audience members danced out into the aisles and the cast all aptly sang the phrase “Don’t let me hear you say you can’t dance!” on joyful repeat. In fact not dancing was practically impossible, so infectious was their energy. I found myself grinning and bouncing, the ten-year-old friend I was with was gleefully drumming the air with invisible drumsticks, and both of us danced down the aisle and out into the street. In short, don’t go to Some Like It Hip Hop for the story or a critique of social injustice; you’ll be disappointed. But the feel-good factor and the super fly dancing, are well worth the price of admission.

THE TELEGRAPH – SEVEN MAGAZINE

5 out of 5 stars  5 stars by Louise Levene
Some Like It Hip Hop at the Peacock Theatre, Sadler's Wells

Some Like It Hip Hop at the Peacock Theatre, Sadler’s Wells Photo: Simon Prince

Some Like it Hip Hop is a new cross-dressed “dansical” from ZooNation (the company behind Into the Hoods), and a preview run in the Midlands meant that this terrific musical comedy hit the West End in fine shape.

Despite the catchy title, Some Like it Hip Hop is not a danced version of the 1959 movie, although Billy Wilder’s central theme – changing sex to find work – is maintained. Kate Prince’s story is set in a brutish, bookless men-only world (an earnest nod here to the misogyny found in hip hop and rap music) so that our two heroines (Teneisha Bonner and Lizzie Gough) must don suits, moustaches and blokey mannerisms before anyone will take them seriously.

If the Blood Brothers-style running commentary (delivered by Tachia Newall) lacks the textual sophistication of Rennie Harris’s Rome and Jewels, this is more than made up for by superb musical direction. DJ Walde and Josh Cohen’s smooth mix of tape and live voice includes several show-stopping original songs, delivered with soul by Elliotte Williams-N’Dure and Sheree Dubois.

Ben Stone’s modular set makes for seamless transformations, while Johanna Town’s virtuoso lighting guides us around the multi-level stage so that not a trick is missed. The penultimate number, Wilson Atie’s Light it Up, earned the usual oohs and aahs for the choreographic firework display, with Tommy Franzen looking like Jell-O on springs.

THE TIMES

4 stars by Debra Craine

Tommy Franzen busts some moves in Some Like It Hip Hop (Marilyn Kingwill)

When ZooNation unveiled Into the Hoods six years ago no one could have predicted how successful its hip-hop reworking of a Sondheim musical would become. With Some Like It Hip Hop, a reworking of an iconic film, it’s different. We know this one’s a winner.

Kate Prince writes, directs and choreographs, as she did with Into the Hoods. Again, this is family-friendly light entertainment with a positive message, highly likeable characters and plenty of spectacular dance. But here Prince’s choreography (co-credit to Tommy Franzén and Carrie-Anne Ingrouille) moves up a notch. Aside from the wow factor fundamental to hip-hop — upside-down balances, backflips, fierce locking, punchy, thrusting articulation and cossack kicks — the movement has a real flair for weaving character into its fabric.

The story, told in charming rhymes and lyrics, is a simple parable. The Governor, grieving for his dead wife, is consumed by darkness and takes it out on the inhabitants of his city. He captures the Sun and hides it in a box, thus plunging the city into perpetual gloom, while he bans books and institutionalises the subservience of the female sex. Two brave women (in a neat reversal of Some Like It Hot’s gender casting) decide that the only way they will make it in this world is to pretend to be men. Much hilarity and romantic confusion follow. Finally come revolution and enlightenment. Harmony is restored, families are reunited, books are back and love finds a way. It’s zany and zippy, hilarious and heartwarming.

Ben Stones’s sets are witty and clever. Ryan Chappell’s costumes are deliriously old-fashioned. DJ Walde and Josh Cohen’s R’n’B music has some fine moments. The show is probably about 15 minutes too long, but the performances are terrific. Lizzie Gough and Teneisha Bonner are plucky and engaging as the female leads; Duwane Taylor’s Governor is impressive, even touching. Franzén, as the nerdy hero Simeon (pictured), is astonishing. A dancer of superhuman agility and strength, he is also gifted with a genius for comedy. The fact that he looks like Ronnie Corbett is surely intentional.

CLOUD DANCE FESTIVAL

5 stars by Kelly Crocker

Zoonation, Some Like It Hip Hop

My word, it is with disbelief that the following words are written. Everybody who visits the Peacock Theatre within the next couple of weeks will without a doubt agree that they like it hip hop, even if they didn’t do so before. ZooNation Dance Company are due some serious thanking and kissing of feet for bringing Some Like It Hip Hop to life. Now, it may sound like a bit of light-hearted banter, but in all seriousness there are no words that can justify this phenomenon. Five stars are frustratingly just not enough, resulting in this to be a very hard piece to write; if possible, Some Like It Hip Hop is too good.
Following in its predecessor Into the Hoods’ footsteps, hip hop and theatre get on like a house on fire… with fireworks, putting most musicals to shame. The fact that there were some amplification issues is irrelevant as music, set and design were utterly on point, entailing zero weak spots. This show deserves a future more than any other so that any picky, minor problems can be dusted off; they are of little importance where this show is concerned. Assumptions may lead to a belief that shows of this nature can run the risk of being slightly cheesy, however, ZooNation failed to embarrass themselves. Some Like It Hip Hop is proof that sheer magic occurs when the importance of hip hop is acknowledged by theatre, especially when it is of as gobsmacking quality as this. Evidently, dance should not be struggling in today’s society as Kate Prince’s creation just goes to show.
The surprisingly heart-capturing story follows an oppressive governor who has locked in the city and those who are worthy, while the rejected remain outside in the cold. He runs a pretty tight ‘no books allowed’ ship where everyone must prove themselves fit and women are put in their place. When Jo-Jo Jameson, Kerri Kimbalayo along with the lovable Sudsy Partridge endure a slip-up, they are banished, much to their dismay. However, an opportunity soon arises to enter back into the city, but only for men. The two ladies are of course struck by an idea, and comically man themselves up (moustaches and all) to join the adorable, book-loving Simeon Sun. It must be noted just how side-splittingly funny this show is throughout, and it comes with all the perks of a good story. Theatrically, the whole thing is accurately brilliant. With the help of some exquisite on-stage singers plus the genius that is DJ Walde, the accompaniment is enough to make you purchase the soundtrack without hesitation, and Ben Stones’ set design is superbly unique. Choreographically? Just wow. The hip hop language these bodies execute is sublime and fits right into the theatre as though it has belonged there since Day One.  The choreography lacks any imperfection and is well and truly up to date, although we are treated with much delight to a rendition of ‘The Carlton’ in the infamous seduction scene. Each and every scene proves to be the best scene: an impossible treat danced out before our eyes.
The whole plot is narrated by the multi-talented Tachia Newall who encourages the entertainment that seems impossible to beat. Shaun Smith’s Sudsy is infectious, and along with Natasha Gooden who plays the beautiful daughter of the governor, they are both out of this world in regards to star quality. And that goes to every performer involved. Despite the existence of your typical leading roles, each star steps up and shines, equally overflowing with talent within their own expertise. Duwane Taylor’s empowering popping and locking vibrates straight through your heart, teaming up nicely with Teneisha Bonner, an astonishingly memorable dancer, not to mention actress. Lizzie Gough makes up one half of our simply perfect leading couple, reminding us why we fell in love with her So You Think You Can Dance appearances. And the other half is the unbelievable Tommy Franzén. While watching this artist at work, the thought that there is only one of him becomes particularly prominent, realising just how unreal this talent is. Alongside the rest of the cast, each individual is in a league of their own, and together have created something quite extraordinary.
It is with great shame that the justice this piece of theatre deserves cannot be written into words. No matter how familiar you are with hip hop, an awe-stricken (not to mention wild) audience is what you get, and the wonder that such a thing exists. Some Like It Hip Hop, I salute you as arguably one of the greatest theatrical experiences alive. May you live on, or there’ll undoubtedly be hell to pay!

THE GUARDIAN

4 stars by Judith Mackrell
Some Like It Hip Hop.

Classic twist … Some Like It Hip Hop. Photograph: Tristram Kenton for the Guardian

If there was any doubt that hip-hop had finally grown out of the street and into the theatre, then Kate Prince‘s new production dispels it. Technically, Some Like It Hip Hop may be a little rough around the edges, but it has all the pace, ambition and talent of a West End show.

New stories for dance theatre are hard to find, especially ones suitable for a family audience. Prince, however, has gone to the best. Her plot is a twist on the classic Billy Wilder movie, Some Like It Hot, but it also draws on Shakespearean comedy for its themes of mistaken identity, gender disguise, lost daughters, and rulers in crisis.

Deploying a witty, insouciant mix of rhyming couplets and rap, Tachia Newall as Narrator tells the story of a Governor whose grief at the death of his wife brings dark days to his subjects: books are banned, work is regimented and women consigned to domestic slavery. Two rebellious young women disguise themselves as men (the Wilder movie in reverse), and much of the comedy arises from their glee in sending up their male masters, strutting in suits and – with a pointed dig at hip-hop machismo – clutching narcissistically at their crotches.

Other rebels join the cause, including the bookworm and all-round softie Simeon Sun, a role that allows Tommy Franzen to show off his stellar abilities as dancer and actor, layering dapper jazz rhythms and comic clowning into the hip-hop mix. Franzen is credited with some of the choreography, which impressively pushes hip-hop to a variety of narrative purposes: sharp, robotic routines for the oppressed workers, slow, mournful moves for the citizens-in-exile, and a mother of all dance battles when the rebels turn on their masters using an onslaught of headspins, bodyflips and vaulting high-kicks.

The choreographic range is reflected in the music: a layering of recorded sound and some terrific live singing that embraces R&B, beatboxing, soul and old-fashioned schmaltz. It’s a real shame that the sound system fails the cast in places, with some of the vocals barely audible over ramped-up electronic beats. The production’s other weakness is its length: there’s a good 15 minutes of redundant material. But this is still a belter of a show, performed by a cast whose vivid, gutsy variety of shape, size, colour and stage background ensures that even when hip-hop moves into the theatre, they keep it real.

THE EVENING STANDARD

3 stars by Clifford Bishop

Hip Hop
 A nerdy Clark Kent: Tommy Franzén in Some Like it Hip Hop

Kate Prince – lyricist, librettist, choreographer, artistic director of ZooNation and hip hop ambassador to the West End – clearly has a lot on her mind.

Intolerance, library closures and the need for street culture to embrace more formal education are only some of the issues bubbling under this ungainly parable about an embittered ruler (Duwane Taylor) who steals the sun and turns his city into a woman-oppressing fortress where love and books are banned.

Such a behemoth should be impossible to animate but with the help of an always serviceable and occasionally inspiring R&B score the cast brings it vibrantly to life. Tommy Franzén is irrepressible as a nerdy, book-smuggling Clark Kent who doesn’t have to ditch the specs to be a superman. He provides a dazzling series of caterpillars, flips, flairs and cossack kicks to demonstrate, as the accompanying song claims, his “175 IQ”.

At the other end of the happy spectrum, Taylor’s fierce, angry locking represents a body whose own neurons are trying to Taser it into submission.

And Teneisha Bonner, as one of two women who disguise themselves as men to infiltrate the city, proves to be his mushy but choreographically brilliant redemption, by throwing his own moves back at him, softened, feminised and thus stronger. Then it all ends in a party. Despite the shaky structure, Some Like it Hip Hop looks sure to be a massive hit.

LONDONDANCE.COM

by Graham Watts

Tommy Franzen airborne in Zoonation's 'Some Like It Hip Hop.

The world of entertainment is paved with ‘second album syndrome’ or the curse of a second project failure; whether it is the follow-up music album, a second novel or the second series of a hit TV show, repeating one’s own debut success is the hardest act to follow.   And this was the task for Kate Prince and her ZooNation Dance Company, whose first full-length work, Into the Hoods, was a runaway success over several seasons in many locations from separate stints at the Edinburgh Festival Fringe to two long runs in the West End.

Prince hit the right button to start strongly by assembling an exceptional cast for Some Like It Hip Hop, including a trio of the most watchable dancers around in Tommy Franzén, Lizzie Gough and Teneisha Bonner. A project with these three at the performing helm was never likely to fail.   Franzén, already one of Britain’s best dance performers in any style, has added a few spectacular tricks to his repertoire, which added to his innate musicality and casual control in the central role of Simeon Sun, have taken him on to an even higher plane of dance excellence.   He has a significant chemistry with love-interest Gough (both finalists from the inaugural British Season of So You Think You Can Dance on BBC1) and their duet at the beginning of the second act clearly elevated the performance energy.   Gough is that rare perfomer who manages to project sex appeal without trying and is perhaps all the more vivacious because of her demureness – I’ve definitely never seen a more attractive performer wearing cycling shorts, knee bandages, thick glasses, a man’s wig and facial hair.   Her dance style does not depend upon explosive tricks but on a unique blend of popping, locking and jazz styles, threaded through with the flexibility and balance that can only be achieved through a serious dollop of yoga.   Bonner is the only one of the three with history in ZooNation, having created and played the key role of Spinderella in Into the Hoods for several years.   She has a superb all-around street style and a magnificent athletic physique (with abs to die for!); although she certainly doesn’t suit a thick moustache!
Though it would be easy to imagine Some Like It Hip Hop to be a spoof on the famous Billy Wilder film (Some Like It Hot) – with Marilyn Monroe, Tony Curtis and Jack Lemmon - the only main reference is in the cross-dressing of the two leads, though here it is gender-swapping in reverse. In the film, Curtis and Lemmon become members of an all-woman band to escape the attentions of the mob, after unwittingly witnessing something akin to the Valentine’s Day massacre; and here, Gough and Bonner dress as men to get back into a city from which they have been expelled after breaking the “no women allowed” rules of “The Governor” (a suitably imposing cameo by Duwane Taylor).
The story itself is often hard to follow and, in particular, the opening sequences are cluttered and fussy, with regular set movements and the rat-a-tat introduction of too many characters. None of this was helped by some peripheral technical problems with the Narrator’s microphone, which made some words unintelligible to the audience in the Dress Circle. This was a pity because actor, Tachia Newall, had considerable charisma when we could hear his whole sentences.  However, all quibbles are brushed aside when the dancing gets going in earnest and the second act is thankfully free of the narrative clutter that clogged up the early scenes.   The original music by DJ Walde and Josh Cohen (with lyrics by Prince herself) was a little hit and miss although I suspect that the tunes will grow on me over time.   Sherona Knight was certainly a songstress to take note of, dominating the stage whenever she was performing.

Any concerns about the slow start are long forgotten by the time of a rousing gospel-style finale, which follows on from a last, brief dance cameo in the spotlight from the entire cast, including the non-dance crew.   At the end, everyone is lined up at the front of the stage and with little need of encouragement it has the entire audience on its feet for an encore.   Just as with Into The Hoods, Prince and her team know how to send an audience home happy and in doing so she has done more than enough to wipe out any ‘second album syndrome’ .

THE GUARDIAN

By Luke Jennings

Some Like It Hip Hop

‘Destined to be a smash-hit': Kate Prince’s Some Like It Hip Hop. Photograph: Tristram Kenton

When Into the Hoods opened at the Novello theatre in 2008, it was the West End’s first hip-hop show and it would mark the evolution of British hip-hop from a street form into a fully realised theatrical language. The piece was choreographed and directed by Kate Prince, and last Tuesday she launched her new show, Some Like It Hip Hop. Like its predecessor it unites a smart and appealing storyline with truly fabulous dancing. The line-up is led by Tommy Franzén and Lizzie Gough from BBC1’s So You Think You Can Dance, and strength in depth is provided by Teneisha Bonner, Duwane Taylor and other luminaries of the UK hip-hop scene.

The story tells of a city whose governor (Taylor), unbalanced by the loss of his wife, has locked the community into a repressive regime where books are banned, women confined to menial tasks and offenders banished to the chill desolation outside the city. The first to suffer this fate is the free-spirited Sudsy, danced by Shaun Smith, and he’s swiftly followed by Kerri (Bonner) and Jo-Jo (Gough). The only way back into the city is via one of the work details recruited from the ranks of the rejects, but as only men are required, Kerri and Jo-Jo have to drag up in wigs, moustaches and suits.

Cue much confusion and romantic cross-purpose. Jo-Jo falls for Simeon (Franzén), who is also recruited for the work party but cannot see beyond her male get-up, and Kerri finds herself simultaneously favoured as an up-and-coming young chap by the governor and lustily pursued by Oprah (Natasha Gooden), his long-lost daughter. Simeon, meanwhile, is persuaded into falling for Jo-Jo in the launderette, where she can safely be her female self, and both she and Kerri are unmasked as women in a classic reveal, unleashing first chaos and then a suitably redemptive conclusion.

Dance-wise, there’s not a weak moment. Frantzén is supremely good, combining an effortless technique with highly sophisticated musical phrasing. In his hands, DJ Walde’s rapid-fire score becomes infinitely pliant: something to have fun with and bend to his own idiosyncratic ends. In owlish specs and nerdy sweater, Franzén is an unlikely romantic lead but he works the look with great wit, just as Gough does with her hornrims and Sandra Dee bangs.

Taylor, meanwhile, is a magisterial governor, expressing his fractured psyche though quiveringly tense locking and popping routines. But perhaps the most finely shaded performance is Smith’s. As the hapless, sweet-natured Sudsy he combines cutting-edge moves with a doleful anxiety to please which recalls Norman Wisdom and the greats of music-hall clowning.

The piece looks good. Ben Stones’s steampunk designs give a grim, dystopian feel, and Prince’s choreography hits the mark every time. Not only as display but as a vehicle for emotion. There’s a duet for Bonner and Gooden which is just sensual enough to give their relationship an ambiguous edge, and in a later trio for Smith, Gough and Bonner, Prince’s filmic montage of angled limbs and liquid upper-body moves is perfectly expressive of their individual dilemmas.

Inevitably there are flaws. The piece opens with an exposition by a narrator which is rendered near inaudible by poor amplification. The first half seems at once over-plotted and over-simplistic: there are, for example, no unsympathetic female characters, and the overbearing masculine behaviour could be much more subtly drawn. There are structural problems raised by the Oprah subplot, which is central to the resolution but encountered comparatively late in the piece, and in consequence has a tacked-on feel.

And given the show’s references to Billy Wilder’s 1959 film Some Like It Hot, which itself references Shakespearean comedy, we are led to expect a more comprehensive romantic pairing-off than is delivered. Jo-Jo and Simeon are an established item some time before the end, and Kerri, in an echo of Twelfth Night‘s Viola and Duke Orsino, appears destined for the governor, although this is not especially clearly signalled. Oprah, Sudsy and the others, meanwhile, are left out on a limb, love-wise.

But these are early days. Into the Hoods continued to evolve long after its 2006 debut in this theatre, and Some Like It Hip Hop is surely destined for the same smash-hit status.


Retox Magazine’s review of Cloud Dance Festival – Firefly. It’s having me feel enormously honoured!

M. Andre from Retox Magazine came to watch Cloud Dance Festival – Firefly on Saturday the 23rd of July and this is her review of it. She has written such nice things about me and I’m still buzzing from reading it. I’m very happy…

http://www.retoxmagazine.com/cloud-dance-festival-firefly-pleasance-theatre.html

Here is an outtake from what she wrote:

“Tommy Franzen, as expected, gave a blasting performance to close the show – the best saved for the last.

Tommy Franzen turns the stage into a serious sizzler

The versatile hip-hop sensation Tommy Franzen, the first ever hip-hop dancer who was nominated for a Critics’ Circle National Dance Award earlier this year gave a heated performance effortlessly accelerating into top gear with his breaks, as always, in tact.

As we know, Tommy Franzen was an aerialist in the opening ceremony for the Asian Games, and in the closing ceremony Tommy played a lead character as an actor. Tommy Franzen also has a strong background in musical theatre and has previously taken dance classes in a variety of styles. Defining Tommy as a hip-hop dancer would therefore be a bit of an understatement. Much of what we saw during the So You Think You Can Dance series last year and even on Saturday night at Cloud Dance Festival where Tommy Franzen stepped into the role created by the Royal Ballet’s soloist Thomas Whitehead in Kristen McNally’s famous choreographed piece “Don’t Hate The Player, Hate The Game”, which he very much made it his own, not only shows Tommy’s passion for different forms of dance but continues to exhibit skill and talent. No wonder Urdang Academy offered Tommy a scholarship back in 2000.”


First review of Cloud Dance Festival – Firefly on www.thepublicreviews.com

It was been a great weekend performing and watching the other brilliant dance acts. Cloud Dance Festival is created to celebrate contemporary dance and we sure did that for the last three days.

This was my first collaboration with Royal Ballet soloist Kristen McNally and I loved performing her solo “Don’t hate the Player, Hate the Game”. Outside The Royal Ballet Kristen is mostly known for her choreographic work  in the style of “Indie Ballet” but maybe when I perform it should be called “Indie Hop”? ;-)  I hope there will be more future collaborations with Kristen and I.

Here is the link to the first review I’ve found so far and below and outtake from the article.

http://www.thepublicreviews.com/cloud-dance-festival-firefly-pleasance-theatre-london/

“Festival headliner Kristen McNally’s enjoyable Don’t hate the player, Hate the game, was a worthy close to the night and hip hop dancer Tommy Franzen a very engaging performer. McNally is known for her use of pop culture music and references mixed with some exciting choreography to create fresh cutting edge pieces. In this she successfully merges various dance styles from breaking to contemporary ballet movement which is effectively explored and performed by b-boy Franzen. What makes this piece stand out for me was how palpably the dancer enjoyed dancing it, it was sexy and dangerous, humorous and fun, dancer and movement interacting with the music and lighting, bringing to mind James Bond, Cowboys, and suave and dapper gentleman partners at formal dances.”

Photographer: David Clerihew


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