The 7 Fingers: Triptyque review – dreamlike dance hybrid falls short

Sadler’s Wells, London
It’s visually arresting, with performers on crutches, bodies with fish heads, a unicyclist and a levitating bed, but the ideas don’t match the material in this theatre-circus hybrid

With their mission to create “circus on a human scale”, Canadian company The 7 Fingers have always veered close to theatre. For Triptyque, they have invited three choreographers to create work for them – with mixed results.

Marie Chouinard’s Anne & Samuel (for guest dancer Anne Plamondon and company director Samuel Tétreault) is both the most dance-based and the least satisfying. The performers are on crutches – limb extensions which they use like prods and antennae as well as for support – and move through a ritualised bondage scenario, in which Tétreault unknots Plamondon’s suspended body and the pair engage in a mantis-like mating dance that ends in a tight, tantric coupling. The crutches-and-crotches arc is less interesting than it sounds: the material is weaker than the ideas.

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Source: Guardian Dance News

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