My first thought on leaving Hofesh Shechter: In The Brain last night was sheer respect for the energy shown throughout by the eight dancers who comprise the development arm of the company, Shechter II.
Don’t approach this work looking for a storyline. It is here to add choreography to rave settings, and the timing and tenacity of the performers have to be admired.
As we enter, the front of the auditorium is bathed in haze. When the dancers are revealed, they are in dim light (design: Tom Visser), almost suggesting a shoal of fish in water. There are a lot of short blackouts, too, in Into The Brain, as the sock-clad group quickly reset on different parts of the stage.
When the lights do go up, that’s when it feels immersive and participatory – we are no longer observers, but consumed by the beats. Each dancer has their moment to stand out. This is my first Shechter show, but I understand he is known for various moves of shuffling, slinking, and stuttering that are present here.
In The Brain suggests both the chemical imbalance of rave culture, and the busy activity of the cells that give us reason, choice, and memory. Friendship, romance, and competition are suggested.
It is all very fragmented without having a moment of complete conclusion. Hints of more traditional ballroom and folk dancing break through, alongside a much more exhilarating contemporary feel.
Costumes, too, are intriguing, feeling chosen more for comfort than character and ranging from jacket and trousers to a loose-flowing frock. As layers are removed, the music by Shechter and German house/techno duo Âme gains urgency.
Dancers become trapped in the beat, their own signatures, in a tightly controlled synchrony. Through the air and water they surrender to the euphoria of dreamland.
Matilde Agostinone, Teige Bisnought, Nagga Baldina, Federica Fantuzi, Woojin Kwon, Armand Lassus, Skiye Nataliah and Ella Roberts are this year’s cohort of Shechter II – three from the UK, three from Italy, one from France and one from South Korea.
They are part of the only paid professional development programme of its kind for emerging contemporary dancers. Each proves to be an excellent artist to watch for the future.
In The Brain is based on a 2022 short work called Cave, produced by Martha Graham Company. In expanding it to 55 minutes, it asks a lot from its audience – but for this first-timer, I enjoyed its audacity and ability to connect beyond narrative.
I’m giving this 4.5*. I found myself recalling the early days of Michael Clark and Laurie Booth’s work, which is no bad thing.
Hofesh Shechter: In The Brain is at Queen Elizabeth Hall, Southbank Centre, to 25 Jul.
For more on Hofesh Shechter, see their website.
Photo credit: Todd MacDonald