Limbs’ 'Extensions’

Press, 16 August 1988, Page 8

Limbs’ 'Extensions’

“Extensions II” Limbs Dance Company at the James Hay Theatre. 8.15 p.m. to 10 p.m. Monday, August 15. Reviewed by Sherril Cooper. Limbs, as disciplined and lithe as ever, presenting four out of five of their programmed works by company members (McCulloch’s “Griselda’s Dream” was omitted because of injury), still succeeded in sending their audience away delighted and replete. Marc White’s “Pu Yi,” inspired by the life of the last Emperor of China, used a gentle precision of movement within a leisured beat, avoiding any obvious Oriental motifs. A truly abstract exploration of fluid earth-bound shapes pervaded rather fittingly with an air of impotence and melancholy. The four dancers seemed not fully immersed in this piece, but its pert and stylish costumes by Elizabeth Whiting and the outlandish effects with indigo and rust in the lighting bound this work superbly. In "Helga und Heinz” by Shona McCullagh this choreographer has exploited her own extraordinary gifts as a dancer, providing a virtuoso duet for herself and Glen Mayo. Quirky, droll and provocative with a strong leaning towards acrobats and clowns, these sharp and original sequences had a wonderfully

Germanic verve. Once again Whiting’s costumes and set added vibrant dimension in Harlequin mode. The fulsome melodies of Katchaturian’s Gayaneh and Masquerade Suites have inspired in Dale Tanner some rich and satisfying dances, some of the company’s best dancing during the evening. Taut formations and deeply lyrical movements fully extended the dancers whom it would be a pleasure to name individually. But, alas, the Limbs programme falls short of properly introducing its dancers to the public. "Seven-a-Side,” choreographed by the Artistic Director, Catherine Cardiff, gives the company its chance to let rip with rock and blues. From Taiaroa Royal’s cool dude to the torch song for three ladies this relaxed and very trendy piece shows just how much they love to dance. Maybe quite a bit we’ve seen before, but at its best the true Limbs stamp is evident. Witty and up-to-the-minute with unexpected and startling resonances. Shona McCullagh’s blues dance invoked a whole gallery of drug addicted songsters from Holliday to Joplin with just that hint of wayward Kiwi schoolgirl. Special note must be made of the expert and alluring lighting design and the subtle touch of the sound and lighting team.