Wed 17 Aug, The Cockpit London
Described as a ‘A Double Bill Of Dance Based On Literary Tragedies’, Edifice Dance Theatre, performing as part of the Camden Fringe, definitely delivered an evening of passion and Latin-contemporary dance infused drama.
The Company was founded just last year, but is already selling out their shows, as seen at The Cockpit this week. Edifice was set up by Carmine De Amicis, and Harriet Waghorn, with the aim of exploring a hybrid approach to Latin American dance and Contact Improvisation. The duo both choreographed and performed in ‘Til Death Do Us… displaying such flair, virtuosity and charisma in their performances, alongside their fellow dancers.
Blood Wedding, first professionally seen at The Place’s platform for emerging choreographers in Resolution 2016, explored the dichotomy of a bride who yearns for security, love and happiness with one man but is restless with desire for another. With a soul that is hungry for love and passion, living in a world of enforced conventionalism, her desires lead to her fateful darkness.
Loosely based on Blood Wedding by Spanish dramatist, Federico García Lorca, a dark love triangle is seen between De Amicis, Waghorn and Mathieu Geffré. The three move with such panache and drive, creating an intimate and tense atmosphere, which is enhanced by the clanging and vibrating soundscape, by Segio Jaraiz, that reverberates in the dancers’ bodies.
Closing the night Edifice performed their London premiere of Salomé. Inspired by the tragedy by Oscar Wilde, whereby the goddess-like character of Salomé (Waghorn) falls from the divinity of admiration, through the corruption of man and into the shadows of madness. She is twisted by rejection, curiousity and lust conveyed by fierce footwork and obsessive twitches that escape from Waghorn’s fingertips.
The focus is drawn to De Amicis, right from the beginning, entranced by his intricate movement and trapped by a cage of dangling, red wool that drapes on the floor. This prison, designed and created by Andy Pilbeam-Brown, and elaborate costume by Loranique Pienaar helps to communicate a mystical world of beauty.
Waghorn commands the stage with her evocative moment, becoming obsessed by Jokanaan (De Amicis). As Vincenzo Di Bella’s music crescendos to a terrifying frenzy Salomé tries to be controlled by Herod, confidently portrayed by Andrej Aleksander Kamienski, Hernias (Nancy Berti) and his guards, resulting in Jokanaan and Salomé’s demise.
Edifice is a new force to be reckoned with and with plans to take Salomé further you should certainly keep your eyes peeled for their next tour dates.