Press Quotes and Articles
Spring 2012 tour press:
The flow of the movement and Brown’s simple yet effective use of space and repetition was expertly recreated and, in parts, re-choreographed and directed by Trisha Brown Company’s Abigail Yager.
…Brown’s robotically simple, sensibly flexible instructions provide an algorithm for something fresh, natural and heartwarming.
Spring/Autumn 2011 tour press:
Candoco certainly don’t play safe in their programming.
…an inspired choice for the company we can simply watch the perpetual motion, the slipknot formations, the off-the-cuff accents and accidents – and marvel. intriguing. Characteristically, his stage is an audiovisual environment.
They embrace difference in order to enrich dance itself, therefore providing exciting, versatile and new ways of thinking about dance. Funnily enough, due to their hard work promoting diversity and excellence, the focus does not solely rely on the fact that disabled dancers are simply used in the context of dance. The company provides proof that their value as artists is of far more importance and evidently so, continues to produce extraordinary work. And tonight’s triple bill is of no exception.
The result is fluid dance – elegant, exciting and very playful. Given the occasion, it is a worthy choice.
Autumn 2010 tour press:
Wendy Houstoun’s Imperfect Storm really illuminates Candoco’s fine performers…the result is exquisitely ordered chaos in which, with typical Houstoun legerdemain, every dancer’s character is perfectly and poignantly defined. Delicious and very funny.
Sarah Michelson’s The Hangman…stylish, phenomenally muscular, requiring extraordinary strength and a superb addition to the repertory…Imperfect Storm was an absolute joy and Candoco is on tremendous form.
Tableaux and body lines are incredible and dancer Annie Hauauer, especially (whose disability is her prosthetic arm) really blows you away with her technique and ability.
Wahoo for Emanuel Gat’s In Translation…short, with interesting and satisfying movement that didn’t feel the need to make some unfathomable statement. It started to a fearsomely fast Bach piano piece, but there was a lengthy quiet section when I was reminded just how good the movement was.
Emanuel Gat’s In Translation is a hushed abstract composition, set to Bach and interludes of silence, that deftly weaves together fluid phrases for its six dancers. There are slippery trios for the women, like silken knots unbraiding; a duet for two men is tauter, more elastic. It’s a real pleasure to watch.
Annie Hanauer shows exceptional grace in her duet work with Darren Anderson, creating tableaux with diving arabesques that reflect a flying bird motif projected onto the back wall, her prosthetic arm extended poetically, a perfect wing.
One of the most varied and satisfying mixed bills in ages
Candoco’s new programme is its best yet
A triple bill that not only builds beautifully but deepens and darkens as it goes along
Everybody performs with a fierce honesty
Moments of real tenderness and beauty
Uplifting and thought provoking
A double-bill that crackles with personality, individuality, passion and humour
Candoco reinvented the boundaries of dance by proving that virtuosity wasn’t confined to the able bodied. They perform work of poignant grace and shocking physical bravado. They also stripped disability art of its last vestiges of political correctness.