“Nowadays everything is so fast… [we] wanted to explore … what that is doing to our personal relationships…” Olivia Quayle
A dim yellow wash gently illuminates a sparse set.
DSL: 1 rectangular table, 2 chairs, two laptops and 1 phone.
The lights fade out; silence.
More silence and anticipation.
A laptop screen shines brightly over one performer, who is hunched, typing speedily.
A few seconds later a second performer is illuminated by their mobile phone screen.
Both are fiercely fixated on their virtual devices switching from video calls, to YouTube vids and
SMS, but barely any social interaction between each other.
As the title suggest, throughout the 60-minute piece we witness the contemporary imbalance
between technological engagement and maintaining real life relations. It is a constant juggle if
not a battle to balance the scales and find a healthy happy medium between the two. It is only
later on in the piece that we see the two performers moving towards a less tenuous and strained
Just as we experience the ups and downs of the performers’ relationship, the piece is driven by
a compilation of tracks which within themselves are a mashup of regular scores, background
sound and technological soundbites; this went from what resembled a humble and sombre
middle eastern hymn-like score to a game boy-esque level of energy. This may sound harshly
juxtaposing, however, it flowed with ease just as the performers did on the stage.
The hand to hand partner acrobatics fused with contemporary dance was a refreshing spin on
a more traditional circus or acrobatic performances. It was clear that the performers themselves
were highly skilled and well rehearsed, in addition to being able to deliver a high level of
emotional content through a clever composition of contact partner work, fluid counterbalance
and animated gestures. I felt that both performers delivered their roles with great strength and
commitment and the rapport between the two was very honest.
I would have liked to have seen more exploration into one of the sections of the piece, which
delved into the insidious and darker side of the virtual world – we’re talking cyberbullying and
abuse. The audience were suddenly drowned in an audio of children relaying comments and
hashtags directed at them: ‘Black pig’, ‘#YouAreFat, #WhyAreYouStillAlive – to recite just a few.
I also felt that the middle section of the piece could have picked up the pace sooner, it did seem
to drag on and I must admit at moments I found myself drifting away and then having to
consciously remind myself to snap back to the performance. Ironically the overall composition of
the piece came across as imbalanced because of this.
That being said I was astonished and mesmerised by the performers’ impeccable performance –
absolutely captivated, to say the least! There were moments of absolute silence and fixation as
they carefully delivered lifts and transitioned from precarious (sometimes contorted) tricks with
intense power, strength and focus.
This piece executes such a simple idea in a full 60 minutes, bouncing from stress, humour,
frustration, and contentedness. I would definitely recommend anybody to see this performance
as it comments on a universal experience that we are yet to discover the full ramifications of and
figure out. Will we forever be in imbalance?
ABOUT PAIGE / I’m an eccentric multi-faceted artist who graduated from London Contemporary Dance School in 2014. I love to read, write poetry, paint and watch indie films; music is my jam too. This season I have teamed up with Beatfreeks and DanceXchange to bring to you some exclusive dance reviews.