Lion, Unicorn And A Yellow Canary

Personally I found the programming a bit hit and miss, but seeing as The Lion and Unicorn pub is local to me I wouldn't pass up the chance to revisit another Cloud Dance Sunday to see what is on offer. This was also the first piece of dance I reviewed, different skill set trying to evoke dance vocabulary...

The Lion and Unicorn is a small theatre bar in Kentish Town that provides a monthly platform for an evening of contemporary dance called Cloud Dance Sundays. The evening is comprised of four pieces, each created by a different choreographer. With each number being roughly 15 minutes long, they were inspired by a broad range of subject matters, from the recent protests in Turkey to the legacy of Isadora Duncan — and even a comedic piece of about a man mourning the loss of his pet canary. Without an overriding theme, the showcase felt very much like a pick ‘n’ mix of contemporary dance, attempting to cater to a wide variety of tastes.

 The evening began with Foundations, a piece performed by B-Hybrid Dance and choreographed by Brian Gillespie. A frenzied medley of jumps, turns and lifts showcased that all five were technically able dancers. At the climax, the quintet stood in a horizontal line at the front of the stage, all dancing in unison: the design of this looked very much like a frantically robotic version of ‘The Dance of the Cygnets’ from Swan Lake. However, I found most of the movement fairly generic as it didn’t feel like many choreographic risks were taken. In many ways, it was like watching a technique class rather than a polished performance. B-Hybrid Dance are a relatively new company, and I don’t think they have quite found their own distinctive choreographic voice yet. 

There were two very contrasting solos in the programme: the first was a homage to Isadora Duncan, presented by Julia Pond. She performed three short segments from Duncan’s own repertoire, followed by her own choreography that, she explained, was closely inspired by the movement style of Duncan herself. Performing Duncan’s solos followed by her own piece worked well, as even somebody who had never even seen any of Duncan’s work could easily compare and contrast the two. This was an interesting way of making a historical figure of contemporary dance feel more accessible. The second solo was inspired by the protests in Turkey and the violent clashes with riot police. Much of Johnny Autin’s movement was very acrobatic, yet his simpler actions — such as when he slapped himself — were surprisingly more powerful. 

The only duet of the evening was choreographed by Nina von der Werth, a recent graduate of the London School of Contemporary Dance. It turned out to be a very funny parody of a televised talent competition, which began with a video clip in which Francesco explained the emotional journey he had been on — indeed, his emotions were so exaggerated that at one point  the cameraman had to pass him a tissue. The piece was all about losing somebody: however, it was not until the very end of the video that he revealed that the object of his affection was, in fact, his pet canary. Dressed top to toe in yellow, with feather boas on  her arms, his dance partner Tori flapped around the stage as the pair performed a highly comedic and tongue-in-cheek duet. 

What struck me most about this event was the versatility of the programme, as each piece was totally different from the last. Cloud Dance Sundays provides a much-needed fringe venue for contemporary dance, performed in an informal setting. All in all, a rather entertaining way to spend a Sunday evening.