On the 9th December, after a glass or two of wine with colleagues, I hurried my way from work to RichMix, a venue I had never been to before. Although it’s not a major venue for dance, it’s got some interesting dance and theatre pieces there every so often, and seems to me a pretty dynamic place, with a lot of music, cinema and exhibitions.
Awaiting the arrival of a friend in the lobby, I met Donald Hutera, who reviews dance for the Times, and had conducted the post-show discussion at the previous event I had reviewed, only a few days before. I sidled up to him and spoke briefly to him about the previous event. He forgot my name almost immediately, so I gave him my card. My friend and I ended up sitting next to him, right at the front of the audience, close to the action. As ever I scribbled away in the dark of the black box space, and more in the interval, at which point we noticed several of the Rambert dancers, there to support Renaud Wiser. It was an informal and very interesting evening. There was a visible network of dancers, choreographers and artists of other capacities – a certain crowd I was just outside of and wish so to join. That’s quite an incentive I suppose.
Renaud Wiser has the weight of Rambert behind him
Budding young choreographer Renaud Wiser presents two dynamic, experimental pieces, his choreography bearing the hallmark of his dancing experience.An ex-Rambert dancer, Wiser is a founding member of the New Movement Collective and this evening’s presentation is supported by Free To Fall, an artists and producers development programme. These things enable – not define – Wiser and his work, which remains individual. There is a visceral, up-close-and-personal quality to these pieces which, in the small studio theatre of RichMix, make a vivid impression.
Click on the here to read the full review on Bachtrack.com
Zhēn de Gender 