LFO
Resolution! at Robin Howard Dance Theatre, The Place, London
7 February 2012
The blurb for LFO is full of technical jargon about waves and frequencies, and to see how this was manifested as an intense collage of human relationships was what really struck a chord – how an abstract scientific idea can fuel a beautiful physical response.
The opening video vignette, to Fat Boy Slim, was slick and gave the piece a universal and progressive edge, with a strong, if indefinite, political slant. What ensued was a succession of solos, duets and ensemble numbers, all danced to music that would be more expected in a club than a theatre – this served to highlight Löffler’s musical prowess, having edited and mixed the tracks himself as well as crafting the choreography.
There was something of an 80’s loucheness to the movement at times, especially in the solo moments with Chris Linda, whose expressive torso emulated the wave motion which inspired the work. Tempering this were sections of architectural classicism, particularly in the duet between Melanie Cox and Richard Hackett, which was beautiful in its restraint. In general the partner work was innovative and interesting, nothing looking contrived or familiar. The closing solo, danced by Sonoya Mizuno, was joyous: her impressive physicality not overshadowing the clarity and purity of the movement.
Löffler has managed to create a work that has none of the pretence and baggage which attaches itself to so many new choreographies – it is fresh and has a definite “now” feeling to it. Regardless of the motive behind the piece, although there was no discernible narrative or pretext, this was simply an impressive piece of choreography, danced with maturity and assurance: it deserves to be developed and appreciated. I’m looking forward to seeing where this talented young man takes his work next.
Dance Dialogue 