The US premiere of Boy Blue, a British hip-hop dance theatre company, brought energy, rhythm and artistry to jazz at the Rose Theatre at Lincoln Centre on Cycle last weekend.
The show served as an exploration of the rich history of hip-hop, choreographed by Kenrick Sandy in Michael Asante’s musical composition. The company announced three evening performances at Rose Theatre from March 27th to 29th.
A few minutes before the show began, nine dancers took their place in chairs on stage as the audience settled in their seats. Performers can look bigger than life as they aim to take up space and avoid the big open theatres that own their movements. This is also due to the imaginary fourth wall between the performer and the audience. But before the show began, watching the dancers bouncing their legs and stretching out on stage, it seemed like adrenaline, excitement and perhaps nerves were humanised. It immediately attracted the audience and contributed to the sense of community that left the stage to the crowd throughout the evening.
The choreography of the show reflects the theme of the cycle as the dancers began and ended the performance with a circular formation that appears to symbolize the infinite rhythm and movement of life. This circular element suggests that the choreography flows with the bounty and fluidity of water, and that the dancers were carried through performances, not only passing through space, but also moving through time and emotions. In the first half of the show, Schiffer appeared to pay tribute to hip-hop’s co-roots. There, artists formed a circle to exchange ideas, skills and energy.
The performance was delivered by Boy Blue, promising “a tenacious quest for hip-hop in all its forms.” A variety of styles were exhibited – each style reflects different aspects of hip-hop culture, including breakdance, clamp, house dance, and lyrical movements.
However, this performance maintained an inclusive sense of unity despite this diversity. Even in solo and duet moments, the unity of the entire company was evident. This unity was not merely a byproduct of synchronized movements, but was reflected in the music that swayed comfortably in and out of the lights, in a variety of rhythms, costumes, and even music that sways comfortably in and out of the lighting.
The powerful beats increased the performance and ensured that there were all the choreography moments
It was seen and felt by the audience. This integration of music and movement created an atmosphere packed with punch, no matter how complicated it is, no matter how much movement it is.
The minimalist stage design was nothing to distract from the performance, and was well useful for the show, with the dancers themselves becoming their sole focus. Bright white lighting occasionally glowed overhead, sometimes from behind the dancers, sometimes adding an etheric quality to the show. It felt like the dancer was coming out of another realm, then he took the audience outside of himself and took him for the moment.
Even the outfit reflected the idea of continuity. The monochromatic design enhances the visual narrative, while subtly promoting the individuality of each dancer, indicating that each dancer brings a unique style to the performance while being an integral part of the larger work.
Another outstanding aspect of the show was the pure athleticism on display as nine dancers decorated the stage throughout the evening in constant movements. This was a venerable in itself, and it seemed easy, not to mention the complexity of their body movements and footwork.
During the show, these dancers embodied the soul of hip hop. In the show’s description, it was a “decisive apology,” and that was the message left to the audience. The cycle served as a powerful piece that felt true to hip-hop’s history of self-expression, identity and protest. It was unique and authentic, and it was clear that it would remain in the audience ever since the show ended.
Photo credit: Richard Turmin
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