ACT
Dundee Rep
FIFTY years ago political dissatisfaction came to a head, leading to protests and unrest in countries around the world. Inspired by the 1968 riots, particularly those led by students, Scottish Dance Theatre’s Creative Learning team decided to cause a little disruption of its own with ACT.
Ten distinct pieces, each with its own agenda, were delivered by a mix of young companies and professionals, and if the blistering intent of those 1968 events wasn’t quite evoked,
there was certainly a sense of disquiet – whether it came from shouting into a loudhailer or incorporating the poetry of Maya Angelou.
Images of rebellion, and a general sense of questioning the status quo, were threaded throughout the choreography, and there was something wonderfully egalitarian about seeing those just starting out share a platform with more established dancers.
Yet it was the moments of beauty and intimacy that really resonated: the atmospheric lighting design of Simon Gane, illuminating the National Youth Dance Company of Scotland’s Di-ver-gent; the fluidity of student Francesca Till’s movement in her culturally evocative duet, Contemporary Traditions, or the clever theatricality of Éowyn Emerald’s colourful quartet, Trinary.
Perhaps fittingly for a show inspired by riots, a work which started out on the street had the most impact. Split into three sections, Curated Moments by choreographer Katie Milroy bookendedtheshow,andserved as interval entertainment in the foyer. A struggle for inner peace consumed five dancers, with Rachel Morgan and Millie Daniel-dempsey’s touching duet proving particularly arresting.
KELLY APTER