Review by Bernadette Rae
Contemporary choreographer Jennifer De Leon makes a big ask of her dancers - and herself - in this septet of dances inspired by the life of 10th century mystic Hildegard of Bingen. The music, of course, soars in pure synergy with St Matthew's lofty spaces.
But the slight
bodies of the Poyema Dance Company frequently struggle for significance against its impressive proportions.
Much of the piece is ritualistically slow and measured and rather than moving in the circles that the work's title suggests, presents a linear pattern of passing, to and fro, in repetitive arabesques. It might well speak of spiritual constancy and supreme devotion. But if Hildegard had been quite this reserved, her extraordinary contributions would never have whirled down though the ages. And if her faith had been a fraction as shaky as Poyema's knees, relentlessly exposed in this exercise, it is doubtful we would still be singing her praises.
Stephen Bradshaw partners De Leon in a series of duets within the work. The first occurs in the stanza titled Woman, with De Leon riding, rigidly upright, on Bradshaw's shoulders for a crossing of the nave. And this time it is Bradshaw's knees that give great concern.
Just one dancer, Hui-Hann Wee, is ultimately up to the task of embodying De Leon's difficult visions. And the two in blue need to be sent back to the barre!
Things liven up in the sixth section, Joining, with some surprising gymnastic movements breaking the previous pale spell. The music changes tempo, and the little band of live musicians, previously used to link the passages of recorded music, come into their own, with some impassioned drumming by Joseph Hartzenburg.
The action comes as a relief but the distinctly Eastern flavour is puzzlement in the wider context, as is the bassoon solo from Ben Hoadley, which opens the performance. It is certainly pleasant and well played, but why?
De Leon is committed to "creating and presenting work of spiritual expression and integrity" and bills Poyema as a "professional liturgical dance company." She has the ideas and the creative intensity to fill that niche. It is just the physical embodiment that needs polishing.
Where: St Matthew-in-the-city
* Final performance on Saturday, September 11.
Review by Bernadette Rae
Contemporary choreographer Jennifer De Leon makes a big ask of her dancers - and herself - in this septet of dances inspired by the life of 10th century mystic Hildegard of Bingen. The music, of course, soars in pure synergy with St Matthew's lofty spaces.
But the slight
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