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REVIEW – São Paulo Dance Company at Mayflower Theatre

Owen Noon

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São Paulo Dance Company’ is the latest performance presented by the ‘Dance Consortium’ to grace Southampton’s Mayflower Theatre. ‘São Paulo Dance Company’ are Brazil’s finest dance company, fusing the elegance of classical ballet with the sensuality of Latin American dance. They are the forefront of South American contemporary dance supported and set up by the government of the State of São Paulo and led with artistic direction by Inês Bogéa. ‘São Paulo’ was created in 2008 and with them being a relatively new company comprised of only 22 dancers, it’s so exciting to see such a celebrated cultural performance on our stage thanks to the ‘Dance Consortium’.

Artistic Director, Inês Bogéa, has been leading ‘São Paulo’ since the very beginning and knows the company better than anybody. Being a dancer, filmmaker, and writer herself; it’s clear to see why she has been credited with having built the company which has performed to thousands internationally. This particular dance presentation is made up of three different incredible masterpieces, all telling a different story whilst presenting a sense of Brazilian flare and culture. The first is Goyo Montero’s emotionally charged ‘Anthem’, the second being Nacho Duato’s sensual ‘Gnawa’, and the third is that of Cassi Abranches’ colourful and flirtatious ‘Agora’. 

As with any dance review I write, I think it only fair to write about each individual dance as its own piece. This is instead of picking out some key performances as that would just be impossible for a dance of this scale. On that note, I’d just like to say how incredible the whole company was, as they were all magnificent. All of the dancers clearly lose themselves in the moment and you can feel the passion and exchange of energy come across in that auditorium. As I’ve said before, these people aren’t just dancers – they’re athletes. So without further ado, let’s talk dance:

Anthem

This piece of dance was created in house in 2019 and is meant to reflect on life cycles and collective identities. This is inspired by songs that become hymns or – anthems – for each individual, group, generation or even nation. It’s very easy to say, that this is exactly what is portrayed through only the movement of the body. I found this piece to be raw and stripped back, using primal movements which sometimes made you feel uneasy – but there was some beauty about this. There was a constant theme of breathing, almost literally taking you through all of the highs and lows that life has to offer. It was showing the ebb and flows of life. The whole company didn’t leave the stage once, making some parts of ‘life’ feel cluttered and overwhelming, but others feel dispersed and controlled (especially when they would focus on the duets). 

The movements were powerful and I particularly liked the use of height in heightening things upstage, but lowering things downstage to keep a central focal point. The simple tonal costume, made it feel as if the dancers were in the nude, adding to the simplicity and rawness of the piece. The use of light was also incredibly simple, but the use of shadows really helped add an extra edge on top of the dance. Sometimes we would see shadows, and sometimes when the dancers were backlit all we could see were silhouettes – really helping bring across that contrast of life. The use of individual hanging lights was also incredibly powerful when the dancers were all spaced out laying on the floor. To top it all off, the music from Owen Belton was the perfect score that helped tell the story from a heartbeat, to primal music, to an army theme, and back towards a heartbeat to symbolise the end of life cycle. The constant change in volume seemed to make it feel as if you were always on the edge of a panic attack and like dancer Yoshi Suzuki said, “its symbolising both the best and worst things that society can do”. Incredible piece of dance, a story beautifully told – bravo!

Gnawa

This dance is inspired by the mystical Islamic fellowship of the Gnawa people, who were brought to North Africa by the Berber as slaves. It’s meant to bring the heat and colour to the hypnotic and ritualistic music of North Africa. This piece had everything. It was chaotic and super energetic yet all of the dancers were together in unison. The group dances were mesmerising to watch and you couldn’t take your eyes off the way in which they were moving as a unit. The duet was also gorgeous. It was tranquil, calming and beautiful – a big contrast to how this piece started. The music had shifted to the noises of nature before the pace was brought up again at the end of the piece. The lights were incredibly simple but effective, the candlelight of the Berber stands out in particular here. The seamlessness between the increase and decrease in volume and how the dancers and lights would react was perfect. 

I would say, trying to follow a particular story line to this piece was difficult. Without any background knowledge or information of it, you’d find it a lot harder to interpret. It wasn’t until afterwards that it started to properly click for me; it was all about the balance between religion and desire, heart or mind. Having said this however, it still doesn’t take away from the performance shown. You can still enjoy what is going on and interpret it in your own way. That’s the beauty of dance. A stunning piece of work. 

Agora

This final piece was again created in house in 2019 and is all about time and exploring its rhythm. This piece was beautifully well-rounded, starting and ending in the exact same way. You could instantly tell it was themed all around time because of the underlying percussive beat, resonating with the tick of a clock. This was such an athletic and energetic piece, boasting an uptempo score from Sebastian Piracés, sharing the Afro-Brazilian culture through percussion, rock, and vocals. The lights throughout always managed to highlight a focal point to focus on and gave a little bit of extra feeling through colour. The soft, sensual, and flirtatious dancing from the women seemed to entice the flirtatious sexual temptation of the men, with their contrast of big and powerful movements looking as if they had gone feral.

It seems incredibly fitting that the word for ‘time’ in Portuguese is actually ‘tempo’, and the way the constant tempo changes through the use of ticking, or flowing water (as well as just the general music) keeps the flow of the dance from stagnating. Each dancer seemed to have a different tempo to each section of music with them all fit together perfectly. It’s like visually seeing a 5 part harmony coming together. The perfect finale for the night.  

To sum up, ‘São Paulo Dance Company’ certainly brought their Brazilian heat, flare, energy and power to the stage – and its clear to see how they have pinned the name of Brazil’s finest dance company. You can really tell how hard the whole company work together, and how polished each of these dancers are. We are incredibly lucky in having the opportunity to see a company like this and that is all thanks to the ‘Dance Consortium’. I particularly like that some of the ‘Dance Consortium’ productions have a Q&A section afterwards, where you get to question some of the dancers and creatives behind what you have just watched. The aim of the ‘Dance Consortium’, is to get more people talking about dance and thus get more people watching it. I think what Artistic Director, Inês Bogéa, said in the the post show Q&A sums up what ‘São Paulo’ think perfectly, “Why can’t England and Brazil all talk about dance like we all talk about football? That is the end goal.”

São Paulo Dance Company’ are continuing on their UK tour until March 2024, and if dance or Brazilian flare is something that interests you then you should definitely find time to give them a watch. After all, what better time to watch them than during Brazilian carnival season? I can’t wait to see what the ‘Dance Consortium’ brings to Mayflower theatre’s stage next and I wish the whole company of ‘São Paulo’ the best of luck in the rest of their time in the UK. 

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Hampstead movie review

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Hampsted movie poster

With the passing of Diane Keaton I decided that I would watch some of her old work.

I chose to watch the 2017 movie Hampstead as it seemed to be quite a good representation of her acting skills. 

It is based loosely (trying not to give the plot away, however it did come out eight years ago!) on Harry Hallowes real life, he used to live on a plot in Hampstead Heath and then managed to claim rights on it. 

One of the best parts of this movie was the chemistry between Diane Keaton and Brendan Gleeson.

It felt natural and not strained which definitely made it more believable for me.

Their chemistry also helped make their characters seem more natural making their performance that much better. 

I’m not one who normally enjoys romantic (some may say sappy) movies but the mixture of romance and social justice themes in this movie made it not too uncomfortable.

It gives the audience a feel-good time with us feeling like we are doing something right, due to us deciding that Gleeson’s character is right.

It made me feel like I was standing up for the underdog and marginalised communities.

I found it quite clever how they made it an easy movie to watch, not too many sad themes, while also fitting in the themes of community and standing up for the right thing.

I would say that if you are feeling a bit down then this would be a very good movie too watch. 

A perfect movie for a light matinee

As a nature person, the setting of this film was spectacular.

I really liked the idea of an expanse of nature so close to a city.

It creates a very picturesque backdrop for the movie which further added to the warmthness portrayed throughout the movie.

I especially liked where Keaton’s character ended up living in the end. 

However, as always there are critics.

With this movie one of the big critiques was that the story was very predictable and followed the same formula that a lot of other romance movies used.

There was just too many cliches which made it painful for the audience to witness again and due to the lack of surprises it was not the most engaging film to watch.

This goes hand in hand with the fact that the characters where more broad and stereotypical than they should have been. 

The other big critique from this movie was that people thought it lacked tone and depth, saying that while it did touch on different societal problems such as eviction, class divide and property divide it didn’t pronounce it enough.

It felt a bit like dipping one toe into the water of the problems.

While I do agree that it didn’t delve deep into the problems society faces, I didn’t think that was what the movie was about or what the directors were trying to get across to the audience.

I believe that it was simply highlighting these issues in an easy to understand way. 

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Are Max Martin and Shellback the downfall of Taylor Swift’s latest album?

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The release of Taylor Swift’s 12th LP, The Life of a Showgirl, has been met with divided opinions. 

Although a record breaking 2.7m albums were sold on the first day of release, not all these buyers are satisfied.

It might be a push to say the majority are. Online, listeners argue this album is “millennial cringe” and that Swift is showing her “true capitalist self”. 

Alongside Swift herself, Max Martin and Shellback produced the album.

Long-time collaborators, they previously helped define 1989 and Reputation. But this marks the first time the trio have exclusively worked together.

1989 and Reputation catapulted Swift to global pop fame.

Through hits such as Blank Space, Shake it Off and Getaway Car, Martin and Shellback provided Swift a clean break from her country roots, throwing her into the deep end of mainstream pop.

However, a decade later the formula feels tired.

So why has The Life of a Showgirl fallen so flat?

Following Swift’s last album The Tortured Poets Department, a lyrically rich 31 song LP radiating heartbreak and introspection, the synthetic glitz and glamour of Showgirl feel false. 

In a post-Folklore world, where Swift proved her strength as a lyricist with the help of producer Jack Antonoff, the return to maximalism and Martin-Shellback production feels hollow. 

With the loss of Antonoff and the return of Martin and Shellback, has Swift lost the reflective heart of her songwriting? 

That’s not to say Showgirl is without merit.

Its production is faultless, and the album follows a clear and fluid theme.

But perhaps that’s the problem. In collaborating solely with Martin and Shellback, Swift may have created her most technically accomplished album but her least emotionally convincing one. 

Whether this is a misstep or the purpose of the album remains to be seen.

But the reception of The Life of a Showgirl questions the path Swift is on.

Now the world dominating Eras Tour is over, is the peak of Swift’s career over too?

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The End of Strictly Come Dancing as we know it?

Emily Byway

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We all know Strictly Come Dancing as one of the most popular prime time slots on a Saturday night.
But could this be the end of Strictly as we know it?


The BBCs show has struggled recently with allegations of bullying and inappropriate behaviour, but now Tess Daly and Claudia Winkleman have released a joint statement to say they are passing the sparkly button on at the end of this series.


Their Instagram statement in full:

We have loved working as a duo and hosting Strictly has been an absolute dream. We were always going to leave together and now feels like the right time. We will have the greatest rest of this amazing series and we just want to say an enormous thank you to the BBC and to every single person who works on the show. They’re the most brilliant team and we’ll miss them every day. We will cry when we say the last “keep dancing” but we will continue to say it to each other. Just possibly in tracksuit bottoms at home while holding some pizza.
Tess & Claud

Following their joint statement they each released their own statements as a follow up.

Tess Daly’s statement in full:

After 21 unforgettable years, the time has come to say goodbye to Strictly Come Dancing. It’s hard to put into words what this show has meant to me, so here goes… Strictly has been more than just a television programme. It’s felt like having a third child, a second family, and a huge part of my life since that very first show back in 2004. I knew then it was something special, but I could never have imagined the magic it would bring.

Strictly has always been about joy, celebration, and bringing people together – and I’m so proud to have played a small part in something that continues to mean so much to so many.

From that very first series, I had the great honour of standing alongside the incomparable Sit Bruce Forsyth.

Brucie set the tine for everything that Strictly became: warmth, wit, connection, and pure showbiz magic.

I have always been in awe of our superbly talented professional dancers, our magnificent judges, and all the celebrities who have taken part. I absolutely adore our brilliant crew – every single member of the Strictly team who have worked tirelessly to make this show what it is. You are the very best in the business – the kindest, most fun, most loyal, and definitely the hardest-working team in television.

Thank you for your laughter, the friendship, and the countless memories over all these years. You’ve filled my heart in ways I’ll never forget. I’ll miss you all so much.

And to you – the viewers at home – the biggest thank you of all. Thank you for welcoming us into your homes for over two decades.

Your love, loyalty, and unwavering support have meant the world. You’ve carried us through every series, and that has never, ever been taken for granted. You are the heart of this show, and I feel so lucky to have shared it with you. Being part of your weekend from September to Christmas for the past 21 years has been one of the greatest joys and privileges of my career.

To my beloved Claud – what an absolute joy and pleasure it has been sharing this adventure with you. You’re one of a kind, and I’ll treasure every giggle, every live show, and every backstage moment we’ve shared. I’m so grateful to have you as my friend for life.

This isn’t goodbye to glitter, sequins, or Saturday night sparkle (I could never say goodbye to those!). Strictly will forever hold a special place in my heart – but it does feel like the right time to hand over the reins.

With all my love and endless gratitude, Tess x


Tess Daly has been on the show since its very first episode seeing over 300 celebrities enter the ballroom and join the competition.

She started the show with Sir Bruce Forsyth, with Claudia Winkleman being a part of their presenting team hosting the sister show It Takes Two.

The duo made history in 2014 becoming the first female presenting duo of a prime time slot.
As a team they have welcomed almost 200 celebrities into the ballroom.

Over their time on the show they have also seen nine judges join and leave the show.

Claudia Winkleman’s statement reads:
It’s very difficult to put into words exactly what Strictly has meant to me. It’s been the greatest relationship of my career. From working on It Takes Two in 2004 until now it has been my everything, the show I will be eternally grateful for. I will never forget Len Goodman trying to teach me what a cucaracha is (I still don’t know) and the complete thrill and honour it was to work with Tess on the results show to cohosting on Saturday nights.

Strictly is a magical, glittery, fake tanned train and it’s been a privilege to be a tiny part of it. The extraordinary talent of the dancers, the band, the hair and makeup and costume teams, the unbelievable production crew and creatives – all utterly amazing. I’ve always believed it’s best to leave a party before you’re fully ready to go and I know the new hosts will be magnificent, I look forward to watching them take Strictly to new heights. As for Tess – I’m so so lucky I got to stand next to you. You’re funny, kind, whip smart and a true friend and I love you.


With two of the biggest jobs in the BBC now up for grabs who will we see step into the glitz and glammer of Saturday night at Strictly Come Dancing?

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