© ccdc 'Seasonal Syndromes' reviews recent City Contemporary reviews more Natasha Rogai reviews Discuss this review (Open for at least 6 months) A version of this review previously appeared in the South China Morning Post.

Dominic Wong’s Xtremely Four Seasons is set to Gidon Kremer’s celebrated recording of Vivaldi’s Four Seasons and proved to be equally fresh and joyous in its approach to this often over-used musical masterpiece. The contrast between the free flowing movement of contemporary dance and Vivaldi’s baroque formality could easily have misfired, but was highly effective. Above all, Wong’s choreography was distinguished by its innate musicality. His interpretation captured brilliantly both the music’s structure, notably through the use of solos counterpointed by ensemble movement, and its moods. Original touches included the use of head and hand movements, formal poses recalling Egyptian or Etruscan sculpture and a wonderfully inventive sequence where three of the female dancers use their long hair to create unexpected images.

The whole cast was superb and it was good to see CCDC’s dancers show off their technical abilities in choreography which demanded so much speed and precision. Chan Yi Jing was in dazzling form and his tap-dance inspired duet, competing playfully with a radiant Noel Pong, was one of the highlights of the performance. Young dancer Peggy Lam made a strong impression and there was outstanding work from Luo Fan, Bruce Wong, Yang Yizi and Michael Lopez.

Yuri Ng’s elegant costumes, grey, white and black with fluorescent socks adding a quirky touch, matched the piece perfectly.

The Unbearable Whiteness of Life is a solo piece choreographed by Willy Tsao and Lau Siu-Ming in tribute to Akira Kurosawa’s visionary late film, Dreams. Simple and sombre, this visually striking work was affectingly performed by Makie Okabe in a role which required acting as much as dance.

Mui Cheuk-Yin’s Season N sought to convey a powerful message about the perilous state of the environment, but lacked clarity and structure. Too many dancers were on stage doing unrelated things at the same time, confusing the eye. The Arvo Part music was dreary, the lighting overly dark and (presumably to convey a post-apocalyptic effect) the performers were costumed like extras from Mad Max 2.