Fri 20 Feb: Algo Au and Cynthia Cheung, Lucy Turner and Dance Collide

Lucy Turner The ‘Ten-In-One’ Girl

Dance CollideYellow Rose

Algo Au and Cynthia Cheung 介乎於 – Intersection

In The ‘Ten-In-One’ Girl, choreographer and performer Lucy Turner creates a solo piece with her unique body to develop ten distinct movement sequences that emerge from qualities of hypermobility, each showcased under individual spotlights. The use of the props, specifically tights to symbolise stretchy skin, is highly effective and visually compelling. The synchronisation between the distorted physicality of the pianist, Gregory May, and Turner's movements, along with the voice-over, enhances the visual impact, highlighting not only her hypermobility but also making me feel the weight of society’s gaze and judgment. Towards the end, the lighting sharply shifts into a single soft spotlight, transforming the stage into a more intimate, conversational space and breaking the barrier of the black box. I feel this moment redirects the “societal gaze” back onto the audience. Turner shares her personal thoughts deeply in the final moments, which feels particularly touching and reflective.

In Yellow Rose, performed by Reuben Spencer and Lauren Williams, the partnering work is eye-catching. There is a strong physical and symbolic connection with the yellow rose throughout the piece, which remains constantly linked to the couple physically and emotionally. I am particularly intrigued by the broken music or dissolved sound moments, where the relationships shift into another mental stage - madness, sadness, and helplessness, yet these could be explored in greater depth to fully support the emotional progression of the piece.

The final performance, 介乎於 – Intersection, features a fusion of contemporary and hip-hop dance styles. The dancers show precise technique and impressive alignment. Choreographers Algo Au and Cynthia Cheung have developed a structured and clear choreographic approach, incorporating signature repetitive movements while integrating elements from both hip-hop and contemporary techniques. The use of rhythmic changes effectively create contrasts in speed and formations throughout the piece. However, I find myself wishing for bolder risks, especially in how contemporary and hip-hop could blend or further develop each other in surprising ways. While the choreography is beautiful, the piece could benefit from more dramaturgical refinement.

Ophey Nasira

“Skin-deep” is the phrase that came to mind while watching The 'Ten-In-One Girl' by Lucy Turner. Not in the sense that the work itself lacked depth, but rather that it interrogates what “skin-deep” means in society. Its depth lies precisely in its exploration of skin and surface. Opening the night was a piano placed in the middle of the stage, alongside a girl with various distortions. The most striking element was the extension of the skin - so thin and illuminated under the light. Yes, that is what people see, that thin layer! The repeated reminder of skin (and skin depth) becomes symbolic. She declares that she offers herself to be seen by others, but that it is mutual. Then the audience lights come back on. What a revelation. This piece offers a deep gaze into the act of seeing itself.

The night resumed with the strong imagery of Yellow Rose by Dance Collide. The stark yellow colour played through the space, tracing the arc of a relationship, how two people grow together and how one is eventually left alone. Mainly created through contact work, the movement was eloquent and seamless. The duet carried emotional weight through physical connection and release. However, I found it difficult to clearly read the work as a story about living with dementia. It is already a beautiful piece, but if dementia is central to its intention, the dramaturgical framing may need to be articulated more distinctly.

The evening concluded with Intersection, performed by four powerful dancers. Dressed in semi-transparent, culturally ambiguous costumes, they wielded their technique like blades. They dig deeply into musicality and artistry, a kind of pure dance discipline, and their intentional surrender to, and occasional betrayal of, the music and costume created an interesting effect. The tension between precision and looseness, between unity and individuality, held the work together.

Namoo Chae Lee