Birthed during a time of world-wide existential contemplation that was the pandemic in 2020, LOVETRAIN2020 managed to emerge as a celebrated dance work by cultivating a feeling of uncomplicated collective joy and energy amidst the solitude we were experiencing. With the bleakness of the news and, in different ways, shadowing daily life today, LOVETRAIN2020 comes to Sadler’s Wells in an evening of physical exertion, set to a soundtrack entirely made up of hits from the British duo Tears For Fears, that is as cathartic as entertaining.
Choreographer Emanuel Gat is Israeli born with a career centered in France, and has achieved impressive international success since beginning to work independently in the 1990’s. Unsurprisingly, he has been a guest choreographer for companies including Sydney Dance Company, Tanztheater Bremen, Candoco Dance Company, Ballet du Grand Théâtre de Genève and many more. His appeal largely stems from an interest in the behaviour of sound, costume, light and movement to reveal human moments.
LOVETRAIN2020 is an unapologetic homage to the 80’s. At times melodramatic, edgy and full of ruffled costumes and puffy sleeves. The heartbeat of the work comes from the base in Tears for Fears’ music. As hits including ‘Shout’ and ‘Mad World’ play, Gat’s company of 14 dancers embody one another as they move around the stage in moments of synchronicity, and impulse peppered with a largely gestural choreographic language. Scaffolded by a structure facilitated by Gat, his dancers are given the liberty to play within it, which lends itself to moments of unpredictability and life. Sonically, the work is held by its soundtrack, however, this is met with moments of silence as the performers continue to dance with a memory of the music in their bodies. At times, this is a powerful contrast, although sometimes it’s slightly jarring, giving room for the mind to wander in the quiet.
The costume design by Thomas Bradley, who was until recently a dancer in the company, were all made in collaboration with the dancers wearing them. There is a sort of dress up box feeling to them which further fuels this feeling of play on stage. At times, the ruffles of the material make their own soundtrack too.
The staging explores proximity between the dancers and audience in both extremes, which is heightened by simple yet effective lighting reminiscent of an underground club.
To pick a highlight in the work is difficult as there is so much collective ownership of it from the ensemble. The push and pull of the dancers as they transition between solos, small groups and the full company is generally satisfying. However, a solo to ‘Famous Last Words’ into an ensemble frolic to ‘Sowing the Seeds of Love’ is a moment of genius.
Although there is no real story to the work, as Gat said during the post show talk: “…if there are people, meaning will emerge.” The show will leave you remembering that people, music, and permission to move is a gift we can all embrace during the good and darker times.
**** Four stars
Reviewed by: Stephanie Oszstreicher
Emanuel Gat’s LOVETRAIN2020 plays at Sadler’s Wells Theatre again this evening (18 November), with further information here.
LOVETRAIN2020 Emanuel Gat Dance Sadlers Wells
Review
Nov 18, 2023
Written By Stephanie Oszstreicher