Manifesto full of relentless energy and amazing invention

Reviewed by John Daly-Peoples

Auckland Arts Festival

Manifesto

Aotea Centre

Until March 10

Reviewed by John Daly-Peoples

Thankfully Manifesto didn’t have a manifesto, any sort of declaration of the intent or views on issues, but they did make manifest their intention to entertain, amaze and transport the audience.

Nine musicians with a selection of drums, cymbals and bells ranged above a group of white clad dancers who sat,  calmly  facing the audience. But then the first burst of cymbals sent a shock wave through the dancers, followed ten seconds later by another explosive sound with a corresponding eruption of the dancers – and so it begins – torrents of sound which galvanized the dancers into hectic sequences of dance.as they responded to the changing tempo of the drumming. They seemed to be responding as though to electric shocks or the physical impact of the sound waves with their somersaults, kicks, lifts, throws and breakdance moves.

In one sequence one of the dancers took on the role of choreographer / director, controlling the chaotic assemblage with wild gestures.

As with all dance the there is a connection between music and movement but with Manifesto, they are for the most part inextricably linked, each beat corresponding to a jump, twist, leap or limb  gesture.

The performances are a mix of modern dance, aerobics, gym workout, athletic workout (one practicing their archery skills) and individual self-absorbed responses.

Some of the sequences are reminiscent of the stylish Cirque de Soliel routines, others are more poetic in their grace and line. There was even sequence which could have alluded to The Rite of Spring with tightly grouped bodies. Other times their movements were epileptic, militaristic or like that of clockwork figures.

One sequence saw the dancers performance a series of fast paced pas de due as they raced around the stage showing off various dynamic, dexterous, challenging , dangerous  and expressive moves. These actions and reactions had much in common with contemporary dance

There were a couple respites and in one of periods a Bob Marley look a like engaged briefly with each of the drummers as well as the audience before being assaulted by a thunderous attack from the combined drummers.

The show, choreographed by Melbourne-based Stephanie Lake was full of relentless energy and amazing invention and there is only two more shows on.