Life in a Briefcase is an epic undertaking – creator and artistic director Ben Uili riffs around themes of:  confinement in the 9 to 5 grind, desire for connection and the unstop ability of creative ideas – that’s a lot in one little briefcase. Placing himself centre stage as a performer and taking on the mantle of chief choreographer is also a lot for one person hold – maybe too much – it requires frequent ‘changes of hats.’ 

Three other choreographers contribute to the production they are Carl Flavell, Sophie Ritossa and Connor Masseurs. This leads to variations in choreographic style within the overall frame:  the street dance form is allowed to morph and shift as it incorporates elements of contemporary dance and theatre.  It is satisfying to see this investigation at play.

The work has a huge and generous heartbeat.  A very large cast of dancers – my guess 30 or 40 – are allowed to find a place upon the stage to express themselves freely and fully; no mean feat to pull this off. There is room for everyone as they relish their moments in the light; consequently the theatre palpably vibrates, energy exudes from the stage and this group of young dancers and aspiring professionals impress with their commitment and verve. There are numerous tight sequences, requiring many hours of rehearsal and extreme skill.

From the savvy office workers who open the show, to the kooky African inspired interlude that springs from the imagination of the choreographer, bored at his office table, to the strutting and voguing of a middle eastern number complete with resplendent Pharaoh, danced gorgeously by Connor Masseur (Katy Perry eat your heart out), to a tight needle sharp street crew, to an orphanage scene with the most exuberant pillow dance ever –  before returning to the office worker scenario: this curious and eclectic evening sure has some wacky detours.

There is choreographic skill in the placement of objects and dancers, and the melding of the diverse soundtrack as the work pushes towards expressing a yearning for a more creative existence.

This massive, massive SHOW is – boom, boom, boom, short scenes 
multiple manoeuvring of furniture and props, fussy and busy
never a dull moment
always fontal full on focus to the audience, never to each other, making movement and theatricality one dimensional
hilarious and strong moments when Ban Uili stumbles into his own fantasy, perplexed
movement pumping out  
a stand out male trio
blue hat, blue tracksuit guy oozes expression
music incessantly driving it all forward, strut, strut
 pop and lock then drop into slow lyrical movement, sink into the ground, pop back up 
lock in with  a partner, swiftly manipulate each other’s arms – partner sequences are the bomb and Sophie Ritossa fizzes in her red dress
Ben Uili pulls it all back to the briefcase to round it off in a moving solo, lies on the floor spent.

 It is dynamic accessible and entertaining. Ben Uili and the rest of the Company NZ are absolutely committed to sharing this dance – there is a revolution going on in Kilbirnie for sure. The possibilities are endless as the frame of street dance continues to shift and evolve.

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