The Spinners, Dance Base Edinburgh Fringe. 3 – 19 August (not Mondays). 16.45. Adult.
The Spinners is a most unusual dance work: futuristic with ancient undertones; incredibly fast-paced as well as thoughtful; it’s a highly original blend of storytelling and pure dance. It uses an old tale in such a way that it speaks to us 21st century folk, makes comment on contemporary themes as all good art should – no preaching, no clunkiness.
In this Australia meets Scotland three-hander by Limosani Projekts and Al Seed Productions, the women and set are sombrely dressed in grey tones and it’s the accomplished lighting which transforms this base line with washes of electric blue, sci-fi green and blood (scarlet) red.
This piece is rich in mythological imagery and deep in movement source material. From the goddess Shiva as Nataraja, Lord of the Dance, to the martial arts to Bharatanatyam Classical Indian dance with hints of Louise Bourgeois’ spider women, it is an inventive re-working of the Greek Three Fates who ‘spin the threads of human destiny’. With palms upturned, elbows bent at right angles, and arms deftly interlinked, the women line up, switch positions, interchange and weave themselves in endlessly interesting and dynamic friezes.
Threads are pulled and stretched, woven and tied to create tasselled figures which are hung on strings around three sides of the stage. This is all done through dance, not for a minute does the choreography cease. Representing androgynous figures of various hues, they are made and re-made, sacrificed and re-born.
Between the frenzied lunges, the quizzical stares and determined gazes, are still points where one dancer watches, one rests and the third consults a burnished oil drum of a console-cum-oracle which doubles as cauldron (Macbeth’s as many witches?) and womb.
The complex vocabulary is thankfully often repeated allowing us the chance to re-watch, to become reacquainted with the subtleties and intricacies of the interlocking bodies as they hastily group and re-group, hesitating for a suspended moment to breathe collective life into their puppets with fronded fingers – each a wondrous moment.
After maybe 30 minutes, the rushing around starts to tire a little, the on-going dullness of light, and seeming repetition occasionally results in a sort of heaviness, but this does not detract from the choreographic artistry. There is a section where one character appears to go a little wild, choosing a white doll instead of a grey, then apparently sacrificing herself when thwarted, before being pulled out by the others and reunited. It was unclear what exactly was taking place.
In this show there is a combination of recognised steps and gestures entwined in a new and inspiring form. The Spinners is simulating and thought-provoking.