Opera & Dance637 entries
The Land of Yes and The Land of No
Opens: 24/09/2009 Closes: 24/03/2010 UK tourDespite being only three years old, BDC has firmly established itself as a major player in the field of contemporary dance. In the UK premiere of The Land of Yes and the Land of No, they present a reaction to the signs and instructions we encounter every day, using the language of movement and emotion. For more information visit: http://www.bonacheladancecompany.com/index.php?option=com_content&view=article&id=93&… Buy: http://www.bonacheladancecompany.com/index.php?option=com_content&view=article&id=74&… Watch:
MusicOMH“The mood becomes more frenetic after the interval...” The pungent atmosphere is aided by the Spartan set which consists entirely of a background screen that changes hue depending on the mood, and a group of strip lights that come on and off in turn to frame the unfolding drama...
The Telegraph“While easy on the eye, it is as impenetrable as it is unmemorable...” These are moments of gorgeous choreography, gorgeously danced, but they can't total much more than 10 minutes out of a total of 85. Bonachela needs either more consistent inspiration, or else a merciless editor...
Guardian“Rafael Bonachela has just created the best work of his career...” The power of its choreography is established right at the start when dancer Amy Hollingsworth stares out at an unseen authority figure, her body choking with the urge to express itself yet arching back in terror. It's a harrowing image...
The Independent“Bonachela knows how to pull a crowd...” The Land of Yes and the Land of No promised to be the work where Bonachela finally let in a warming glimmer of human feeling. It was not to be.
Financial Times“Not yet reviewed”
Evening Standard“Not yet reviewed”
The Stage“Bonachela and his spectacular dancers have created a mesmerising work...” The initial spur of the signage may have become largely irrelevant, but the result is strikingly beautiful. Rarely can music and movement have been so perfectly combined...
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