“Near heavenly hell” and “choreographic genius” are just some of the words used in reviews that are starting to roll in for Betroffenheit in Europe.
The dance-theatre work by Crystal Pite and Jonathon Young, of Vancouver’s Kidd Pivot and Electric Company Theatre, respectively, are just starting to roll in before the riveting exploration of grief makes its big debut at London’s Sadler’s Wells this week.
The Dublin Examiner called it “one of the most visually memorable and emotionally powerful performances of the festival” (the Dublin Dance Festival), saying, “Choreographically stunning and featuring a masterclass in light, sound and set design, Canadian companies Kidd Pivot and Electric Company Theatre’s “Betroffenheit” is a visual feast exploring the extreme states of trauma, addiction, grief and bereavement.”
Meanwhile, arts website No More Workhorse reported, “At the end of the night the dancers received one of the longest standing ovations I’ve seen, as the crowd seemed hugely impressed by what it had witnessed.”
Elsewhere, Pite’s choreography garnered a lot of the praise Ballet BC received at the recent International Dance Festival Birmingham. Dance website Dancetabs called Ballet BC’s program “as hip as it gets”, with Crystal Pite’s Solo Echo “a 5 star piece” that’s “absolutely stunning”.
The program, which also features Emily Molnar’s 16+ a room and Sharon Eyal’s Bill, hits New York’s Joyce Theatre this week.