Take the three pieces dating from 2010 and 2011 which make up The Talent. They all involve conflict, notably so in the case of Jarek Cemerek’s Void where a dark filmed sequence leads us into a world of hoodies, deprivation, gang culture and ultimate victimisation. The recorded score by Ondrej Dedecek, Yoav and Ismael De Garay underlines the violence of the action.
The central work is Alpha, where Paul Roberts’ choreography and Keaton Hensen’s music for guitar and voice wraps itself around a pattern of shapes and a suggestion of the wilfulness of a seafarer’s life. Shelina Somani’s costumes reinforce this sense of timelessness. Alpha is preceded by Russell Maliphant’s Torsion, all pull and push with earth-grounded turns and right-angled lifts.
All the performers are young and they come from many dance disciplines. So you see academically pointed feet and the ball-of-the-foot pounce associated more with hip-hop and break dancing. There is no attempt to disguise the physical effort involved in these three pieces – as with the overall sense of managed conflict, it’s a case of the survival of the fittest. It’s also effective theatre.