The physical puff and accelerating mayhem of live performance turned their silly walks, fierce jumps and boneless press-ups into a joy-filled celebration of dance itself.
The Guardian on Jolly Folly
The evening ends on a high note with the aptly named Jolly Folly, in which a large ensemble identically clad in comically exaggerated dinner suits cascade around the stage in a tribute to silent comedies. Performed at warp speed, the Chaplinesque waddle and the acrobatic routines seem riotously random until it becomes clear that a great deal of thought has gone into the design and patterning.In the introductory film that prefaces the piece, choreographer Arielle Smith says that she “just wanted to make people smile”. Job done.
The Stage on Jolly Folly
Youth is the key. Bourne has cast young dancers, some still in training, and worked with a 22-year-old associate choreographer, Arielle Smith. The result is freshness and dynamism.
The Guardian on Romeo and Juliet