Cascade Dance Theatre is a new ensemble company that may have its roots in Wales but very much has an international flavour. With Phil Williams at the helm as artistic director, the company has brought in dancers from that hail originally from Portugal, Spain and Japan for its current ensemble. This eclectic mix of nationalities is mirrored with a variety of performances and moods across the three acts of the night.
But before we are introduced to Cascade, the show opens with a performance by the Connections Youth Dance company, composed entirely of local teenage talent. Allowing the next generation of dancers the chance to open for a professional company was a nice touch and one the young dancers themselves will not forget in a hurry.
The first act from Cascade was a piece called Poppet, which was choreographed by Jem Treays who has worked with the National Dance Company Wales, Welsh National Opera and National Theatre Wales to name but a few. Poppet is the old-English word for puppet, so the programme tells us. Throughout this performance, a puppet manipulated by the company’s five dancers, ends up being the one doing the manipulating as it leads each person in turn around the stage. Perhaps the puppet is a metaphor for our desires and vices in that no matter how much we think we control them, they often end up controling us. Who knows……and that is the beauty of a piece like this because it leaves much to imagination and interpretation.
The second part of the show was a dark, sombre piece called Quite Discontinuous. Featuring just Maria Fonseca and Faith Prendergast, this performance explores the morose but inevitable theme of a loved one dying before you. Dutch choreographer Jasper van Luijk wrings from the two dancers an emotionally and physically draining performance that is very demanding of Prendergast in particular. I lost count of the number of times she falls to the ground as she plays the parts of the slowly dying character, raging against the night. I’m sure she herself loses count of the number of bruises picked up from such a performance too. Nevertheless, her flexibility and expression indicate a true dedication to her craft.
The closing piece is choreographed by Phil Williams himself and features the full complement of dancers. It also, quite thrillingly, features a live performance by the uber talented Devon-born musician and composer Harriet Riley (ably backed by an electronic score by Jak Poore that is reminiscent of classic Aphex Twin). At times Riley is a blur of limbs as she moves between marimba, drum and cymbals but she never misses a beat. After the heaviness of the previous piece, the energetic Collidron ensures the night ends on a lively and upbeat note.
Throughout the three different acts – with their differing themes, tempos and moods – the motif of pushing boundaries and challenging the audience is strong. This is no conventional, safe show. For such an off-beat space to exist for artists to collaborate and showcase their talents, free of pressure to conform, is as reassuring as it is vital.
Images: Roy Campbell-Moore
Other reviews of Cascade
http://www.asiw.co.uk/reviews/cascade-dance-theatre-blackwood-miners-institute
http://www.asiw.co.uk/reviews/cascade-dance-theatre-autumn-tour-2016
Artistic Director Phil Williams talks about the new company
http://www.asiw.co.uk/news/taking-dance-theatre-parts-wales
Harriet Riley composes score for Cascade
http://www.asiw.co.uk/news/rwmcd-graduate-composes-score-wales-new-dance-company