The Stage

Aseju (Excess)

Published Monday 25 October 2004 at 17:00 by Kevin Berry

Bode Lawal has spent two years developing a new choreographic style for his Sakoba Dance Theatre company. It is a style he calls postmodern African dance. Very much an evolving language, it uses some aspects of traditional dance but stays resolutely cutting edge.

Unveiled at the world premiere of Aseju (Excess), the company’s first full length show, this new choreography is strong on narrative and emotion. It becomes increasingly theatrical as the show progresses. Tribal chants, in an absorbing introduction, lead on to chanted dialogues in urban settings. There are sharp observations, flashes of broad humour and some interesting insight but there are some moments when dance and story run uncomfortably close to being lumberingly pretentious.

Lawal’s five dancers are clearly driven by collective belief in his objectives. All have a special physicality that he has tapped into. Pauline Mayers has some enjoyable solo spots, as does the splendidly comic Marie Lawrence. Maggie Ho-Ki Kwan should be given a little more to do.

The company’s musicians are outstanding. Three drummers are backstage behind a transparent curtain and they thump out terric, almost incessant rhythms. Then there is the singing, which is thankfully not taped. It is exceptional, exciting and palpably inspiring.

Presentation is something that will need attention before the Sakoba company plays the major dates of its tour next year. There are also puzzling occasions when sections of dance are begun and closed. Nevertheless this is a promising step forward in the company’s artistic journey.