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Billed as Candoco Unlimited, Sophie Partridge reviews an evening of new works by Claire Cunningham and Marc Brew / 8 September 2012

a woman in a fluffy body suit and hood seems to talk to people in front of her who are holding crutches at different angles

Candoco and Claire Cunningham perform in a double bill. Image courtesy Candoco

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A game of two halves with the tight rigidity of 'Parallel Lines', versus humour and apparent abandon of Claire Cunningham's '12'.  In Brew’s piece, dancers’ were initially battling against the taut, illuminated lines, which throughout, disentangled from the company and rose to fill the space above. 

With my view being restricted in QEH, this was a welcome element of the set design; they literally filled the space, leaving no blanks. As the piece progressed, pace picked up and the hypnotic score of Michael Galasso drove the dancers on in their highly skilled choreography. I could feel them having to work, to conquer the routine and the ropes. And they did. 

There was a great moment when Dan Daw, having been dancing solo, then joined another three who had been moving in unison; a quartet was then formed which just seemed to lift the piece and send it hurtling forwards to its climax when Mirjam Gutner, in slow motion, danced her way to the fore with a trail of more illuminated strands trying to restrain her. Technically brilliant, the connections were powerful in this piece by Marc, himself a top-notch choreographer.

I had really relished in Claire Cunnigham’s piece when I saw it previewed at Laban, so was eager to see it again at QEH.  It did not disappoint!  Altho’ there were some changes to the original 12, the subversive essence remained. 

Highlights for me were the opening sequence, with Vicky Malin shouting her army instructions to the New Crutch Recruits. And who can resist the singing of “This is what I like. Do It to me now!?” Not me. Nor the rest of the company by the end, when they rock out! 

Two great pieces in one evening. Let’s hope they get another airing…