WHAT WE DO BEST
Essex Dance Theatre
at the Civic Theatre
What EDT do best is to bring accessible, affordable dance training of the highest standard to the county, as they have done consistently since they took their first steps in 1975.
This year's Civic showcase was as impressive as ever, with an even more significant contribution from the young men of the company. Much of the choreography – we saw thirty numbers – is “home-grown”, like the finale to part one, by Zinzile Tshuma: exemplary discipline and amazing physicality in a piece danced to Sia's Move Your Body - “your body's poetry ...”.
Nikki O'Hara's Revolt, at the top of the show, gave us sinuous, serpentine ensemble, as did Jacob Holme's classically-inspired Stabat Martyr, danced to Pergolesi.
The same choreographer's crowd-pleaser to Bruno Mars' 24K Magic was followed by a lovely unaccompanied Change in Me vocal from Georgia Clements while the huge cast put on their knee-protectors for the traditional Knowledge [Adrian Allsop].
Amongst many other pleasures, a deliciously retro Mack the Knife [Paul Cowcher], David Nurse's eloquent Cello Suite to JS Bach, Ryan Heseltine's school-yard piece to Tom Misch's Watch Me Dance, and that lovely Astaire number Dancin' Man, choreographed by Kim Bradshaw, an old-fashioned show routine that the dancers looked to be enjoying as much as we did, as they left their soft-shoe footprints on the sands of time …