MurleyDance Double Bill
Lunch-time balleticism needs more seasoning
This article is from 2013.
Classical dance (served here with an occasional arch twist) is such a rarity on the Fringe that I wish I’d derived more pleasure from this ambitious and rather Matthew Bourne-ish programme than I did.
Not that there aren’t notable moments – or dancers – in each piece. Inspired by famous art works, company namesake David Murley’s four-part La Peau (French for ‘skin’) features self-absorbed versions of Raphael’s Three Graces, awkwardly stylised sex via Ingres’ La Grande Odalisque, Botticelli’s Zimmer-framed Venus pining for former glory and Michelangelo’s Dying Slave stripping off on a symbolic stepladder.
Ultimately the four vignettes are less than the sum of their parts, but they do function as a showcase for some flexible young dance talent. Based loosely upon Alan Ball’s (Six Feet Under) play of the same name, Gwyn Emberton’s Five Women Wearing the Same Dress is a somewhat confusing scenario pegged on domestic abuse, cross-dressing and, essentially, difference. The cast doesn’t lack technique but, like the choreography, traces of callowness are visible. The whole enterprise is a little uneasily pitched between high-art and tongue-in-cheek camp.
Greenside, 557 2124, until 24 Aug (not 11,18), 12.30pm, £12 (6.50–£8).