Verses is a programme of short works in which Black Grace’s Artistic Director Neil Ieremia uses an eclectic mix of his favourite music for inspiration. This, he states, coupled with his original writing and poems over the years, provides the foundation for an opportunity to play and experiment with these ideas and develop new movement vocabulary.

A variety of recognisable vocabulary – for example: ballet poses, hip-hop moves, beats with legs from a range of styles – is contemporised and mixed with other contemporary lifts, supports and travels to become an amalgam from which Neil draws from for these works. 

In the first work, Totem, we are introduced to this amalgam of movement vocabulary.  As the light increases we see a giant 3D human sculpture like a totem appear. This powerful shape stretches from earth to sky.   In radical juxtaposition to the changing totem shape one walking dancer slowly encircles this shape with his hand quivering by his head as if to evoke some form of ritual.  

The totem dissolves and is replaced by a number of smaller group shapes as the mood shifts gear and the dancing takes flight. Duets, trios cross the stage performing large ranging movement phrases with lighting precision. Dancers enter and exit as traversing the stage continues. At one point Tupua Tigafua jumps high into the air and lands like a feather leaving me to marvel at his ability to do this.

We have shifted into high gear and movements seem to be accented. Powerful arms puncture the space as the piece builds to a climax. It ends in a strong distinctive floor motif: dancers drop to knees, turn on to their side, bicycle legs and come back to all fours with the body weight shifting forwards and backwards.

This striking movement material clearly intrigued the choreographer and the motif reoccurs throughout the show. This for me means that the power of this phrase first viewed becomes somewhat diluted. 

Verse 6 begins with one standing dancer holding another dancer’s limp body, arms trailing towards the ground. It is a poignant reminder of the devastation and cost of human life in the wake of the tsunami in Samoa in 2009. Tupua and Thomas Fonua lift and support one another forming sculptural shapes, capturing a sustained reverent aesthetic throughout. Accompanied by Samoa Matalasi by Jamoa Jam the singing further underpins the sadness and sense of loss. The first image is echoed at the end, paying homage to all who are affected.

Verse 3 is a duet for the two female dancers of the company, Abby Crowther and Zoe Watkins, to ‘Hurt’ by Johnny Cash. Strongly danced with some very assured partnering in the form of holds and supports, it captures the changing dynamics between these two dancers – you are in or you are out in the popularity stakes.

Verse 5 – 1984 to ‘Girlfriend is Better’ by Talking Heads is a cleverly crafted trio consisting of one male and two female dancers and all the permutations that raises. The stunning costumes of jeans variations and assorted top, jumpsuit and skirt really complement the look and give cohesion to this piece.  

Verse 7- do not go gentle is a solo for Sean McDonald to David Bowie’s ‘Under Pressure’. Sean has been with Black Grace for many years and this solo seems to capture the qualities Sean brings to his dancing extremely well. Bare chested and in designer jeans, Sean seems to reach his arms out into infinity as he uses them in a number of gestures. The choreography seems to be in snippets with transitions that allow Sean to use pedestrian walking in a circle to connect episodes of physicality imbued with the kind of lyricism associated with his dancing.

Verse 9sees the full company dance to Jimi Hendrix playing ‘Voodoo Child’ by Stevie Ray Vaughan. Like Hendrix’s guitar playing, this dancing is fast and physical as falls, running, drops, leaps, turns, and aerials bombard me. Jarred Hemopo performs a giant jump while executing a spectacular air guitar riff twice throughout this piece.

The dancers command the space with authority and commitment to the different works. There is a strong physicality about their dancing. The padded floor allows for an extended range of exciting drops and falls, which would be far more problematic if landing on a wooden floor.   The fruits of playing in the space without the pressure to build a large work certainly engage and entertain us from a variety of perspectives.
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