Skip to main content

Review of Dance4 N.Dance at Royal & Derngate, Northampton

In my far reaching ambition to experiment with nearly everything on offer at Royal & Derngate, this weekend I attended N.Dance, part of the national Dance4 competition. Consisting of thirteen routines from schools, colleges and universities across the country and their hopeful ambition to be selected to perform at the MYDance festival in Plymouth.

I have actually seen two dance performances in Northampton previously, but this is the first that I have put finger to keyboard for review. As a viewer of Strictly, I am not adverse to watching dance although it would not be top of my list. However with my couple of visits during 2014, I was admittedly won over by the impact of seeing it live. If there is one thing I have learnt over this past, busy theatre year, there is absolutely nothing better than seeing something (anything) live, even if you may not be an absolute fan.

Rather than going through all of the routines, I shall pick out the best or highest impact ones. The first (and actually the first) from Grange Primary School set the bar at 99% fun. While not of the obvious standard of the older performers to come (give them five years and that will be them), their frivolous routine "Into The Rain" with them wielding umbrellas and wearing cagoules had unremittingly high cute levels. Lovely little pieces like their synchronised popping up from behind the umbrellas was wonderful to see.

Northampton School for Girls (NSG) "Illusion of Thought" was a huge contrast to the first routine. More contemporary than the first and with clever use of lighting and the front of the stage. One performer scaring the life out of some of the audience with the drop down into the stalls and stare. Vivid to watch, with only possibly the reservation of just too many on stage.

After three generally contemporary performances, which had been greeted appreciatively but minus whoops, NSG's 'You need me Man, I don't need you' finally hit the vibe with many parts of the audience and the screams and indeed "whoops" were unleashed. Hip hop or probably more correctly now known as street dance (I iz not cool like themz) was the name of the game and it went down incredibly well. It was for me also very, very good. All the better for there being just four performers on stage, as the first four had been perhaps too busy. A hip soundtrack (rap, but I shall forgive that) and a superb energetic performance that they maintained throughout.

The sixth performance was from Northampton College and a group I believe that I had seen last year at the university (I certainly recognised the solo man of the group from then). Titled "My Line" this was again mostly contemporary, with the added gimmick, but a well used one of rope (ribbon or silk?). This was used very well, with the performers walking it like a tightrope or tied together throughout the routine. It was all very clever and inventive.

The final performance of the first half was, while not the best, the absolute and total emotional impact of the whole night. "So...! Dancers" from Matisse Jazz Cut-Outs was a group of ten disabled performers (including one in a wheelchair). It was simple, but so incredibly effective. High emotion and they genuinely looked like they were loving the opportunity, especially the young man who took the bow just a few times. Simply wonderful and a great decision to finish the first half with this performance.


Wielding my licky yogurt I was settled for the second half and first up was the funniest routine of the evening. "Catch Me if You Can" from Patchwork Dance was the Keystone Cops presented as dancers as two clumsy policemen pursued the naughty graffiti fiends. Lighthearted, fun and great music (any opportunity to hear Valli's Beggin' is fine with me). Maybe not the best dancing of the night, but most certainly the most fun.

NSG's "One Women's War" was the absolute opposite. Absolute power and emotion telling the story of the wives and girlfriends left behind during World War One. Representing those land girls and factory workers and their wait to hear from the line. One part set to the words of one such lady, this was incredible stuff and one of the best of the night.

The penultimate routine was "Piano" from my old school of Northampton School for Boys and was perhaps the most surprising for having many more boys than girls (an obvious problem of the evening in general was the lack of male performers). There were still girls present but this was a refreshing routine for the night because of the different style represented by the male bias. I liked it, but perhaps I am doubly biased with it being my old school and a group of blokes!

The final performance of the night was from Castle Youth Dance and their "To The Clock Tower" and while not my favourite, it had a lovely added danger of props. Wielding and used mostly throughout were wooden posts. It had elements of Stomp! and although I didn't quite follow the story it may have been trying to tell, it had a good visual impact.

As an evening it was a totally entertaining, much more so than my initially sceptical mind might have thought. Fun, varied performances with a huge crowd (admittedly most of them relatives). The only thing I think the whole thing missed was perhaps a host to introduce the performers as the screen was just a little stale and the end just came with no fanfare. However that one negative aside, it was just a excellent evening.

Performance reviewed: Saturday 24th January, 2015 at the Royal & Derngate (Derngate), Northampton.

For more details about Dance4 visit their website at http://dance4.co.uk/

For further about the Royal & Derngate visit their website at http://www.royalandderngate.co.uk

Popular posts from this blog

Review of Sunny Afternoon at Milton Keynes Theatre

Sunny Afternoon , the Kinks-inspired jukebox musical, debuted on stage in 2014. Featuring Ray Davies' music and a book by Joe Penhall, it first found success in London before a UK tour in 2016/17. Now arriving at Milton Keynes Theatre with a new 2025/6 tour, the question remains: with some songs now over 60 years old, is Sunny Afternoon still relevant to today's audiences? While this is a jukebox musical, this show follows, via this system, the story of the formation and eventual success of The Kinks rather than creating a random story from the songs. Opening with the band The Ravens, the group is safe and sophisticated, with their prim-and-proper lead singer. However, the true band of the future, Ray Davies, Dave Davies, Mick Avory and Pete Quaife, are itching for freedom, to break away, especially writer Ray, who wants to create songs that mean something to people. Enter the suits of management, and the rocky creation of The Kinks begins. I had the pleasure of seeing Sunny A...

Review of It's A Wonderful Life by Masque Theatre at the Holy Sepulchre, Northampton

Remarkably I only saw the classic film It's A Wonderful Life last Christmas, this was thanks to spotting it lurking on my subscription of Netflix. A glorious heartwarming film perfect for Christmas? That must be why I was a blubbering mess at the end of it then. There was hope that in public, The Masque Theatre's performance of the radio version of the story didn't leave me in the same situation. As it happened it did a little as that final scene in the Bailey household played out again, but it didn't matter as there were members of the cast in the same broken state as many of us audience members. Left to right: Jo Molyneux, John Myhill, Lisa Wright, Michael Street, Lisa Shepherd and Jof Davies This was the first radio play that I had seen performed and on the evidence of this, I sure would like to see some more. While not having the drama of standard plays in their creation of moment and places, they do have a rather striking drive towards character creation. The ...

Review of UoN Fringe 2019: Working For The Man by Naked Truth Theatre at The Platform Club, Northampton

When looking at the prospect of the Fringe performance Working For The Man , it is slightly difficult to work out who is the bravest person involved in this remarkable one performer, one audience member show set totally within or around the edges of a car. I guess I would in my case, say myself, but it takes some daring for performer Ellie Lomas of Naked Truth Theatre to also create a piece that offers the boldness that it does. Working for the Man is perhaps unsurprisingly about the sex trade, and explores exploitation and how, or if, prostitution is taken as a serious profession. It involves no live audio dialogue from performer Ellie Lomas, instead, she inhabits a purely physical performance, that is progressed by the use of a pair of headphones which you are given at the start. Across this audio are instructions of what to do. "Get in the car", "sit in the middle seat in the back", "open the glove compartment" etc, as you move to different areas ...