The Fifth Edition of The Place Prize is in full swing as the first four semi-finalists presented their work Saturday night to a sold-out audience. Choreographers Joe Moran, Moreno Solinas, Tony Adigun and Riccardo Buscarini shared the first performance in the four-evening series, which features new work by 16 of the UK’s most exciting dance artists, all competing to be winner of The Place Prize and recipient of the £35,000 award. Out of these 16 choreographers, three finalists are chosen by a panel of judges, but the fourth is chosen by an audience rating, collected after the show each night.
This platform created an exciting and competitive atmosphere in which to view these dance works, and each of the four choreographers certainly exhibited individuality and passion. Each piece was clearly thought-out and executed precisely, but that is where their similarities end – which is part of the fun of The Place Prize.
Joe Moran’s Obverse opened the show, with three colourfully-clothed dancers moving with a distinct lightness to a pensive sound-score by Jamie McCarthy. The piece was also highly affected by the lighting, which was composed mostly of overhead fluorescent lights that flickered and flowed on and off throughout the 20-minute work. The dancers moved in a repetitive and almost subversive way, executing difficult and specific movement without showing any effort. This gave the piece an automatic and somewhat ritualistic feel. It was almost like, as an audience, we were watching a clinical experiment of movement, and the moody music, interlaced with classical Handel and Beethoven, made it feel like the experiment itself was eerily unethical.
Moran explained that he wished to investigate how movement and meaning are interpreted without the use of any choreographic device aside from the dance itself, and that was evident in the virtuosic and looping movement phrases performed in the work. Unfortunately I felt that the lighting and music eclipsed this effort to investigate movement, and while I enjoyed the dancers’ use of the body and exacting intricacy, I soon found the movement overpowered by the narrative inferred by the music and lighting design.
Moreno Solinas’ Life is a Carnival came next – an autobiographical solo that explored the many journeys and emotional extremes in his life. Solinas was able to craft a piece that showed humour and joy, vitality and strength, yet also a deep and crushing sadness. I was struck by the flow of the piece, which from start to finish was eloquently crafted to achieve a strong emotional reaction. It also benefited from a beautifully subtle lighting design, and a well-thought-out soundscape performed live by Solinas through vocal work and body rhythms. The salsa-inspired solo found a good balance, and was engaging from beginning to end.