Review: Grin at Tramway


Grin_Company 1.jpg

Photo: Sefa Ucbas

Glittery costumes obscure and obstruct identity- strewn on the floor, they become a perverse camouflage. Soloist Kemono L Riot (Lebe Sinanduku) flexes, pops and locks, and is joined by director/choreographer Mele Broomes and Divine Tasinda in a frenetic fragmentary display of African-inspired shimmy shakes, weaving the traditional with the contemporary.

Rollin’ and scratchin’ to the slams of Patricia Panther’s thumping, dub-inflected soundtrack, the trio become two. Broomes and Tasinda  dagger on the floor, offering sexual provocation, but glowering at the audience: fierce, untouchable, staring back.

Into the space come the solos of each, setting out each personality.  They own the space, they transform it. Next, silent screams of resistance and power, juddering and Krumping. A slow, slow, slow-burn of intensity and oppositional intent.

Now the trio are as one, after individual freestyling gives way to an infectious, leaping dance of celebration. Grins all round, the very epitome of exuberance and black positivity.


Grin_Company 3

Photo: Sefa Ucbas


(Lorna Irvine)

V/DA in association with Project X at Tramway


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