TAP OLE Uniquely Spanish approach to tap dancing

The word", Sparks“ and tande' are most likely to comm: up .‘v‘nun‘; at a tWIsting bolero o" lt‘vt’};(:i;fl(i sarallarvft’: In recent years. howe‘mr, one of The most inrvwatixe takes 'l" tap r1; nrrrv;

has acme fl’lll‘ fjtizt'l'ffi‘. (it)'ttt;;:",l' 7.1;, Ole, whose members fuse virtuoso flamenco gtiitar .vuth the precision and elegance of tap

International soloist. Gtiillern Alonso cofounded the (I()lll[)£ill‘, in Willi when he and fello‘.'.vrdancer, Roser Font were asked to create a show vvith Spanish influences. 'We Considered forming a flainertm fusion trio with piano, drums and bass,” he says ‘But the final debision to use two guitarists gives the show a completely different feel to any other tap show.‘

Since premiering in Chicago to rave rewews. lap Ole's innovations have included rnixmg tap With swmg, Latin rhythms. tango and even the anoient sand dance. ‘There is so much to develop With the tap and Spanish mixture that we'll keep creating in that direction for a long time.‘ says Alonst ‘l wull keep dancing With any musu: possible. using tap as a percussion instrument' (Allan Radcliffe)

I C, Chambers Street. 0845 260 18534. l~27Ai/g, 5. 75pm, {8.5047060 (Eff). 50419. 50).


Korean breakdance spectacular

In recent years. Korea has emerged as a hotbed of breakdance talent. And one of the company's most revered breakdance companies. Maxmmm Crew IS about to hit the Fringe like a brick thr0ugh a window. Known to: its incredible Synchronised routines. the company won the Best Performance Award at the 2006 Just For Laughs festival in Montreal.

But what IS it abOut KOrean breakdance that sets it apart.“ ‘I think we spend more time on training] Suggests Maxnnum Crew's David Yoon, ‘And because KOrea has Created a lot of good companies in recent years. :t's more competitive.”

It‘s not all about headspins and


A perfect blend of dance and technology

Last year, Bristol-based company Precarious Dance proved that dance. physical theatre and technology can work together in perfect harmony. The company's dynamic Fringe show, Junction 8 used two performers and a plethora of video screens to create a range of disparate characters.

This year, they‘ve gone a step further, using six performers and even more technology, in a tale of one man‘s isolation. ‘He‘s a bit of a recluse and a loner,‘ says co-artistic director, Dan Shorten. ‘He doesn‘t venture out into the world and is afraid to go and experience the things that life has to offer.‘

The company’s love of technology isn't shared by everybody, of course, and Druthers is a response to those people who feel society is better off without it. ‘A lot of people talk about technology having a negative effect on communication and that it keeps people shut up in their rooms.‘ says Shorten. “But we feel that technology can really add to your voice. So we created a show about people, where technology is used to demonstrate the exciting things that you can do in life.‘

The main driving force behind Precarious, however. is accessibility. The company tries to appeal to as wide an audience as possible, from regular theatre-goers, to clubbers to film buffs. ‘We blend movement, text and video, and classical material with contemporary so that anybody can come,‘ says Shorten. ‘Somebody who has been going to the theatre for years will spot the Godot references, somebody else will recognise a piece of music from a nightclub, and somebody else will think that shot was similar to a certain film.’ (Kelly Apter)

I ZOO SUlIHPS/(IU, (35L) (589$. ")".’)r‘r/‘t{,’(} wt): (1‘. ’w‘ 4’11”: if-a‘ f‘n‘ Pun, up, ~; 4g; .1 Aug, Ell.

Leaxe the:r Fringe shes/9‘

‘Strrn: Love} is a narratue Ita'vgr; {3'11} that's the Mist .ne can new: U: says; (it: Par». 't‘s "(1'11 to “:iassf, on .vork, because it“. not l'VXlQ". dance.

t8 1’“</L .}(17‘“,(: l ltfrliflf. til" . :}:."\,»_.fl'

For everything you need to know about all the

Festivals visit www.list.co.uklfestival

ballet is our base :t's not That other Honeflrily people will set:- the snow; wit:

an open "fwd. aliorund tfi; ht: .-

wmdinills, however. as Yoon explains: 'l‘vloves are not solely created to nave a good look. it's an enuressior‘. o‘ the dancer's life and the spirit awhin their

desires. longings and the impled Scripted pla'l.‘.‘.";:;l“. Joe O'B,me. message they want to coituvt-é,’ to: the storm, tenement/2:, Kellx Ante!»

I Assenn’fi <1‘ Asse'nt‘lt Hall. 8.3.3


Int: std", \‘ V r (w! .r ’p r“{‘,' f -y\r I y“,~n

‘Jl (I llldt “J” 't.\/‘\A,)'V. I—qcIlurn (1 ‘,u-

scare and ljf€%-’€:C’)t72é%<} text. Sorry.

l_o.e. as need mm e'noimf

jt're she‘s: a huge ’t'afa

w L_ Hklkd. I : \‘ I r(‘

Prel/ens 3 8 3 Aug. i :7. ‘penor'nim


Relationship drama en pointe

The dance world is full o" Lanes. shes

and genres. Bat sonfetlr‘ies.

pigeonnoiing Jt.st .sn't possbte. \‘.’."e"

Gavin de Pacr and Law Ma: as

started Pasoo’cs Dance Company "'5'. .. m Dublin. then ll‘C‘Jl‘g to Spam fine,

Just wanted to do their 3?.“ tbng‘.

Both are trazned in ballet. but moved

into other areas. So where does that



Hip hop musncal fun

y\ ‘1 Ht; r 1' (H r’ r v .tw tfflle‘l'rThI' r ' .i" ‘.(:'\‘lII7ir'(i: "t: i"? J”! ,'

ll't’rirttiruifh‘, Twit. Ml w :' 2H"

'lI/fgIl'v‘l'v‘ll"‘t'1f" ‘fif [r' 41"

.T" 0” o, 9,, l o, ,. .‘ lrgtl‘st't',tl.i',n‘.f.i<luu:t:- . P'ir‘w’: 'Arr: (wet/o: . I w .‘gift’l‘Wifi’l "‘ t ° '

‘g', llrt’I "l .l ‘7‘ ti 2’1'.‘ l w" ' ill" .au' .'.«-:' : 22,. . t' " "Efflfihti’lth‘: .r:".‘:'.. 'X' ‘. I .' .I‘,‘ ;)( 18"“: (1 t ;( ,I/ 4 K . O i )1 (In r:(,(}0', ‘11“ ' o, . 1

{3"137 /;.l’r; " I O "I ()"I'

:"’p // 7’1'lt.‘


A thousand tiny stories

I 1 y r I I I; ,r t

1‘ g 1 I ‘,|/ ' 1‘

J 1 l .1 A "i ‘, p y A

HUN. . ..',~/. I t «1 ‘..‘.

Iv/fr‘. ( r'I’ 1" ’U1 r(."°’?i’ ' {J' s}_.(;,.‘;,r1;‘..l ,I... t, ;d. ,. I ,

rl{:‘l (:(‘Ai‘ /_l A 2‘,” z I ', ll/., , A I,

pJJ ., I. 1 3/11" 'v‘t' '{trill .' :1. ' {I'

' flf,‘ {'.(,'p_tl(111/ (1,,” ; A.) J ’1‘ I

5 1',(1LLI '— L: r. a {/ 1.1{1 ; I; 1 I / rv 7 tr rv r y pm I ‘v r y 1‘

( l 1" Ur " 1'1 dud, '4 j

|/’1r..v QM} [Ir] J / .4 H, '. i‘, {,- 1 ’1 1 A J I“ 1,) (‘c‘, .1 "1 l. 2. (1);} J' (ll. ).11'-~d- 2/41. -', (r

"urnari "‘ffl‘ems N'tere the taffa’jt:

bursts tra' 'nterest rle Jcr g. Her .vork