Alston 'Fever' reviews Alston 'Such Longing' reviews Alston 'Charge' reviews Alston 'Gypsy Mixture' reviews Lawrance in reviews Baio in reviews recent Alston reviews more Carole Edrich reviews

‘Such Longing’ starts with searingly melancholic solos by Martin Lawrance and Luke Baio. As the dance unfolds, duets in cursive phrases evoke the feeling of loss that Chopin; whose Etudes are featured, must have felt for his motherland. There are so few head movements featured in this piece that when they do occur a mutual look, glance in another direction or change of expression is magically meaningful and highlights the feeling of aching emptiness conveyed.

The dancers so closely match the cadence of the music and each others’ pace that I long for them to break their unrealistic romantic idyll (which presumably reflects the rose coloured vision with which it's easy to see one's origins) and dance at complementary tempos instead. And then it happens; a tiny variation, a few small moves, and the perfect co-ordination resumes.

Completely different in approach, form and music, Charge is performed to the rather repetitive Steve Reich Electric Guitar Phase. Martin Lawrance’s choreography is more linear than that of Alston, but sits well with the music and the subterranean night-club-like atmosphere created by Charles Balfour’s lighting. Dancers propel themselves down and forward from linked groups, occasional sudden stillness is used to great effect, and the energy feels exactly as one might expect from a generation that grew up with rock, garage or trance.

When you consider that Usti Usti Baba; the first track used in Gypsy Mixture, is a combination of techno and Balkan Music and Chilean and Macedonian brass bands it’s unsurprising that the dancers project an uncomfortable, gritty aura, or that this feeling remains through the second track. But as others are introduced and mixes from different locations are brought into the medley, the flow develops until I find myself rushing towards a fun-filled festival of movement.

Particularly effective is when one performer’s frenetic steps contrast with the stillness of their partner. This section evokes the ambience of a carefree Gypsy street party with grinding hips, stamping feet and a seemingly natural sense of rhythm, but it somehow doesn’t ring true and feels more like a compromise than a seamless combination of styles.

Throughout the performance, the energy and clean, sharp edge borne from really disciplined dancers with attention to detail is a pleasure to watch and each piece fits together well, leaving an impression of cyclic progression as well as variety of approach and music. With so much sensuous choreography and so many stunning moves to choose from, it’s surprising that the strongest image that remains is from the very first piece, where a solo ends as the dancer seems to wash his face in pain and wonder.