Clod Ensemble is genius at creating interactive dance performances, bringing community together, celebrating the spirit of self-expression. Tonight's performance is no exception, as it draws on the music of legendary jazz artist Charles Mingus, teasing out nuances in his score from agitated to more sensuous notes that translates here into a shared movement language for the dancers and audience to explore.
The company created its first movement response to Mingus’s 1963 jazz album The Black Saint and the Sinner Lady at Shoreditch Town Hall last year, and this run is sold out. Peter Edwards, Musical Director of Nu Civilisation Orchestra, transcribed the entire score by ear, and his musicians follow his lead with verve and passion. First, there are three short pieces (by Edwards, Romarna Campbell and Clod Ensemble’s Paul Clark) followed in the second half by Mingus’s masterpiece.
Action takes place on a circular stage with the orchestra on a raised platform at one end of the venue visible from any spot in the auditorium. There are clusters of tables and chairs, jazz club style, dotted about, but the best thing to do is to forgo a stationary stop and move around the space, as the performance is constantly shifting its gaze.
This isn't clear on arrival, and pre-show, things feel pretty fraught. Long-suffering staff hunt down perches for individuals, either on the steps or chairs. It takes the show to start for the crowd to clock onto the fact on that they don’t officially need to be seated, but are far better off experiencing the evening by moving to the rhythm.
As the music begins, the format soon becomes familiar. The dance company sets the tone for choreographed numbers, movement patterns and rhythms. Individual performers then scatter amongst the audience, beckoning us to join on the dance floor where we are led into a circle and directed to crouch down intermittently, while dancers break out and perform set pieces.
It feels less overwhelming to join an already busy stage. Whilst you might not want to be singled out and find yourself the only non-dancer on stage, the more you get involved, the deeper the experience. Sitting on the sidelines watching everyone having fun feels like you are not at the party.
Compère for the night Chloe Carter explains, "tonight is not about how the performance looks in response to the music but how it makes you feel... This isn't Strictly, no one's judging you." It's good to remember this and let the jazz seep into your veins, forgetting prying eyes as no one is looking. Mostly, the audience tonight are up for a good time and in deep reverence of the talented dancers.
As the dancers explain verbally, the piece is a mix of improvisation on the day and choreography by Clod Ensemble’s Artistic Director, Suzy Willson. There's sassy Maycie-Ann St-Louis in her expansive silver skirt, whose movement literally melds into the music. She is also confident in her interactions with the audience, discussing in-depth the power of smashing down the fourth wall. Then Valerie Ebuwa jerks and pulsates to a saxophone tune, so she practically becomes the music, pinging her body in response to the jazzy sounds. Arran Green’s head-spins and breakdancing wows the crowds, as does the staccato movement of Faye Stoeser, responding to Spanish guitar.
The Black Saint and the Sinner Lady is a totally inventive way to experience the full orchestra and dance performance, so long as you go prepared for something totally different. There are countless opportunities to respond to the achingly spiritual music if you throw caution to the wind. The show's power lies in the sense of a shared space, and as the crowds build camaraderie, its hard not to be seduced by the infectious spirit of joy and expression to the music, whether you choose to tap your feet, close your eyes or join the circle of movement trust.