THIS BRIGHT FIELD
'The changes in scale and sound keep destabilising and reconfiguring our relationship with what is happening onstage: we know them/we don't know them, they're like us/they're not like us, they're pedestrian/they're virtuosic, there's a story/it's abstract – but these responses feel reductive, binary, when its clear the work isn't showing us something but sharing something.'
THE LISTENING ROOM (Danza Contemporanea de Cuba)
'The work’s charm lies in its seeming spontaneity. It is rather like watching the weather as we see the dancers drift into a quietly private headspace or clump into riotous choruses whose music we can only imagine.' *** The Guardian
'what makes this work charismatic is its thought-provoking invitation for the audience to decipher meaning themselves. The underlying message does not need to be rigid, but it can be left to the fluidity of the audience members’ own interpretation.'
'Theo Clinkard talks about his focus to see instinctive choices. This is apparent and resonates with moments of authenticity and humility. The cast find it a pleasure to play in this arena, which is also deeply crafted in movement and phrases of choreography.'
SOMEWHAT STILL, WHEN SEEN FROM ABOVE (Tanztheatre Wuppertal Pina Bausch)
'The arrestingly pared-back opener is by British independent Theo Clinkard. 'Somewhat Still, When Seen from Above' is a group portrait in dance, and it’s clear that Clinkard knows what treasures he has in performers who can deliver a world of vivid personality through the smallest look or gesture.' *** The Guardian
OF LAND & TONGUE / CHALK
'Clinkard’s choreography has an unforced, unhurried quality that is very much of the moment. He muses, tinkers around with his material like a bloke in a shed, and then, quietly and deftly, pulls the loose ends together. The result is intimate, human-scale and charged with joy.' **** The Observer
'Grounded as it is in human experience, Ordinary Courage is a very approachable work. Clinkard’s movement language is deceptive, its apparent simplicity that of well-written dialogue. There’s nothing that doesn’t need to be there, and the precision with which we are led through the darkness of grief to the light beyond promises well for his future work.' **** The Observer
'there is a robust structural integrity in his choreography that makes its point with purpose and vigour and he commands an effective use of time and space in a work that is expertly performed by an excellent ensemble.'