Festival
{DANCE} LIST.CO.UK/FESTIVAL
HITLIST PEONY PAVILION The National Ballet of China gets this year’s Edinburgh International Festival dance programme under way, with this 16th century love story. ■ Edinburgh Festival Theatre, 473 2000, 13–15 August, 7.30pm, £12–£44.
L A V I T S E F
Korean Drum – Journey of a Soul Traditional and modern Korean percussion and dance combine in this dazzling large-scale show. See review. Assembly Hall, 623 3030, until 29 Aug (not 15, 22), 4pm, £13–£15 (£11–£13).
Silent Pat Kinevane writes and performs this stunning one-man physical theatre piece about homelessness. Enjoy one of the best shows at this year’s Fringe. Dance Base, 225 5525, until 20 Aug, times vary, £7. Slender Threads London’s Chicken Shed tackle the emotive issue of cancer in this powerful piece of dance theatre. Zoo Roxy, 662 6892, until 28 Aug (not 10, 17, 24), 5.15pm, £9–£10 (£7–£8).
Swimming with my Mother Tender and moving duet based on swimming memories from a real-life mother and son by acclaimed Irish company CoisCéim. Dance Base, 225 5525, until 21 Aug, (not 15), times vary, £7.
58 THE LIST 11–18 Aug 2011
Last Orders David Hughes Dance Company takes a trip into the dark soul of 16th century Scottish cannibal Sawney Bean. See preview, page 61. Traverse Theatre, 228 1404, 17–28 Aug (not 22), times vary, £17–£19 (£6–£13).
Soy de Cuba Slick dance routines, fantastic original music played live, amazing vocals and a whole lot of hot Havana passion make this a show to savour this Fringe. Assembly Hall, 0131 623 3030, until 29 Aug (not 15), 10.30pm, £15 (£12).
Pinocchio: A Fantasy of Pleasures New York’s excellent Company XIV turns the popular children’s tale into a far more adult affair. See Q&A, right. New Town Theatre, 220 0143, until 28 Aug, 7pm, £12–£14.
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Q A&
A few words with AUSTIN MCCORMICK, founder and choreographer with New York dance outfit, Company XIV Who or what inspired you to choreograph? I was inspired from an early age by the combination of mediums in Baroque performance (1600-1750); movement, scenic design, music, and costumes combine to give an audience a 360 degree experience at the theatre – this is what I attempt to do with Company XIV. What do you look for in a dancer? Classical training is very attractive but I have to say that I first and foremost look for artistry and individuality in my collaborators. I am inspired by the performers in Company XIV and enjoy building each show specifically around their unique gifts. In Pinocchio we fuse period movement with flexing (street dance) and an exquisite opera singer. What do you hope audiences will take away from your show? Our mission as a company is to re-imagine classical stories, twisting the familiar into something unexpected and new. My hope is that Pinocchio will be an entertaining and beautiful spectacle, it is also quite haunting and operatic. We aim to take the audience on a sexy, beautiful, sensuous journey to pleasure Island and back. Who would be at your fantasy choreographer’s dinner party, living or dead? I would have to invite Raoul Auger Feuillet who codified Baroque dance technique under the reign of Louis XIV, Bronislava Nijinska and Vaslav Nijinsky of the Ballets Russes, and of course Pina Bausch, the pioneer of dance/theatre. That would be quite a quartet. ■ Pinocchio: A Fantasy of Pleasures, New Town Theatre, 220 0143, until 28 Aug, 7pm, £12–£14.