The first piece Distant Light by Lo-Giudice Dance set the tone and was my favourite. Three girls come bounding on, leaping, lurching, lunging and leaning - at times dancing together and at times apart - sometimes mimicking and sometimes mocking. A split personality, domineering yet vulnerable, bossy yet scared. The movement was so successfully copied I thought at times I was seeing double

Remotegoat reviewing 


Creswick took his instrument to the limit in no less that three cadenzas, bowing with such ferocity at one point that it seemed to growl in anger.

His last cadenza led into an aleotoric passage (loosely translated as the throwing of a musical dice) with the Sinfonia strings descending into a barely-controlled chaos, before subsiding into a sea of calm, with the work returning to where it it started – in silence.

Creswick and the strings then repeated the marathon for a post-concert dance, which added a new dimension to the work.

The young choreographer Anthony Lo-Giudice crafted a visionary interpretation; performed with style and athletism by lead dancer Molly Hodkinson, along with Rachel Jean Birch, Shelley Brettle and Kristin Kelly Abbott.

At times entwined and at others repelling each other, the dancers conveyed a sense of yearning for the unattainable.

The final fade-out, with Hodkinson disappearing into darkness, was a magical touch.

Reviewed by Gavin Engelbrecht

Tasked with creating a visual stimulus to Peteris Vasks’ Violin Concerto, choreographer Anthony Lo-Giudice draws inspiration from the composer’s themes of independence, exile and segregation. Three female dancers step onto a dimly-lit stage, accompanied by the haunting music. Grounded movements and cleverly employed unison and interplay result in one of the trio always being separate – wanting to belong but not quite fitting in – and the piece effectively evokes a sense of yearning and desperation.

Reviewed by Georgina Butler

 

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Supported using public funding from Arts Council England