![Harry Wilson, Carina Howard, Francis Thomas and Eileih Muir in <i>CAST [X]</i> by Liam Francis © Pierre Tappon](https://cdn.bachtrack.com/wfiles/466475-ydp--cast--x---dancers-l-r-harry-wilson--carina-ho.webp)
It was a short evening at under two hours, but the Yorke Dance Project at the Linbury Studio Theatre was packed with interest and had a breathtaking finale. Artistic Director, Yolande Yorke-Edgell, has a unique perspective on contemporary dance, having worked with choreographers on both sides of the Atlantic, who were then pioneers and are now iconic figures. She devises programmes that bring the past into the present in a fresh guise, then adds spice with new creations.
A new Christopher Bruce work is always a treat. A present of the recording of Leonard Cohen’s 2008 London concert was the spur, followed by a decade long hiatus to secure the rights before Yorke Dance Project was on hand to facilitate the birth. The voice of Leonard Cohen opens a floodgate of half-forgotten memories and desires, with every song stirring longing and anguish. Christopher Bruce translates this edginess into dance. As Cohen finds poetry in the everyday; juxtaposing passion with trivia, Bruce’s style of movement does the same. It is so easy to identify with the characters in his Troubadour. These people get hurt, they get it wrong, we’d like to express our emotion as freely as they do but we have to contend with living vicariously through the half dozen songs that take us to places imminently real and passionate.
![Harry Wilson, Carina Howard, Francis Thomas and Eileih Muir in <i>CAST [X]</i> by Liam Francis © Pierre Tappon](https://cdn.bachtrack.com/wfiles/466474-ydp--cast--x---dancers-l-r-harry-wilson--carina-ho.smaller.webp)
The men, Liam Francis, Jonathan Goddard, Edd Mitton and Harry Wilson all wearing hats, know how to lead a woman on the dance floor. The women, Elly Braund, Carina Howard, Eileih Muir and Amy Thake wear red silk and are bare footed with loose hair. It’s a red-blooded work with the temperature rising. The love may not be the real thing, but the desire is there and expressed in dance that says it all. It was well worth the wait. Bruce has lost none of his skill and only gained more depth. I hope Troubadour stays around for a long time.
The other new work, CAST[X] by Liam Francis to Jethro Cooke’s score of fragmented voice and thrumming textures with an intelligent lighting design, by Zeynep Kepekli, was innovative and exciting. The four dancers, Francis with Howard, Muir and Wilson, each found their identifying phrase and while there was no narrative, there was purpose and intention which anchored the movement and gave liberty to explore. With his diverse performing background, and inventive skill, Francis has found a distinctive and personal voice that I hope we see more of.
The longest, and most challenging, of the vintage works was Bella Lewitzky’s Kinaesonata (1970) to Alberto Ginastera’s Piano Sonata. The lifts, the leaps and the sudden changes of direction proved the quality of the dancers who were exceptional. The lifts are exciting, tricky and unusual for the period and the style, but give a very distinctive look to the work. Lewitzky’s technique is not for the faint hearted. It is fascinating to watch with the total abstraction setting it in its time and place.
Robert Cohan’s Lacrymosa (2015), one of his last works, was created for Yorke Dance Project and given a performance of depth and sincerity by Muir and Goddard. It is minimal and stark, clothed in sombre black with religious overtones. It needs superlative dancers to bring the meaning to the pared down movements and this evening, it got them.
Martha Graham’s Deep Song (1937) her response to the Spanish Civil War is as relevant today as it ever was. A study in black and white, it also alludes to Picasso’s Guernica and the strong thrusts and diving passion echo his strong anti-war message. The simple prop, a white bench, is used to enhance the moves and serves, momentarily as a simple coffin. Amy Thake gave the work her all and delivered the message with passion.
Yolande Yorke-Edgell always offers an interesting evening, and this one surpassed expectation. Celebrating the past, the present and looking to the future, it was a triumph.
