PRESS REVIEWS
Test Run (2007)
‘… a completely hypnotic fusion of music and movement, a beguiling,
brisk piece of dance theatre in which boundaries are increasingly blurred….
an outstanding piece of new work.’ Sheffield Star
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‘… mesmerising movement, haunting sounds and constant humour.’
Sheffield Telegraph
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Punch Drunk (2007)
‘Punch Drunk is no subtle peek behind the scenes; frailties,
ambitions and rivalries loom large in solos, duets and ensemble routines
that are by turn comic and tragic..’ The Herald
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‘…astonishingly original…everything works in Broken
Chords…’ The New York Times
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‘…heart-jolting work’ The Village Voice
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Broken Chords (2006)
‘Absorbing, touching and often very funny. Vincent pulls off
a powerful feat - creating a moving portrait of grief while making us laugh.’
The Guardian
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‘Extraordinary… strongly affecting, not least thanks to
Charlotte Vincent's sure sense of how much lowering an audience can take
… a barely-moving picture that proves remarkably watchable when cut
with sudden rushes of savage energy.’ The Independent
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for full review)
‘Charlotte Vincent has struck gold with Broken Chords. Hewn from
the heart, it’s a work of rare beauty. Metro,
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for full review) (56Kb)
‘Broken Chords was about the most harrowing yet inspiring transmutation
of personal pain into artistic achievement that I have encountered. Touchingly
yet sovereignly choreographed… great dance.’ The
New York Times
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‘Brave, intelligent entertainment. The multinational cast is
unflaggingly game and gifted.’ The Times
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‘Charlotte Vincent’s company has been in existence since
1994 and its present roster of dancers is remarkable.’ Ballet.co.uk
Magazine
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‘Deep down Vincent sensed trouble. She didn't know what was amiss,
exactly, but she began to put together a new dance-piece. Its working title
was Broken Chords. ‘The Observer
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for full review)
.‘British Dance Edition 2006 took place in the northern English
city of Leeds, courtesy of the Yorkshire Dance Center’ New
York Times
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“The performers in Vincent Dance Theatre always wear their hearts
on their sleeve. All eight of them have plundered their soul for the company’s
new work.” The List
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'The piece is daring and innovative and thrives on a masterful delivery
from TC Howard and the dynamic musicians and dancers who share the stage.'
Scottish Theatre
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'But although there is much jesting in this production, we are nevertheless
taken on an emotional rollercoaster ride….With movement and speech Broken
Chords pertinently portrays the agonies of a mind unhinged.'
Edinburgh Guide.com
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Save The Last
Dance For Me (2005)
“Vincent and Howard have looked at what each dancer
is capable of and blended these abilities into a piece that is atmospheric,
touching and, at times, beautiful.” Oxford Times
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for full review)
Surrender Yourself
To Me (2005)
'...a breathtakingly exciting and accomplished piece and certainly
one of the best dance works I’ve seen from a welsh company.'
The Western Mail
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Punch Drunk (2004)
‘Delicious and melancholic… I left wishing more
people could see it, and share my delights and questions. A rich embraceable
work, to which the performers give their all.’ Donald
Hutera, Dance Europe
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for full review)
'This is a highly developed and intricate dance-based production. I
have not seen work by Vincent Dance Theatre before, but I will surely do
so again.' Virtual Brighton magazine
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for full review)
'Ricocheting without mercy between hilarious show-off routines and
intense bouts of self-conscious introversion...Perfect!'
Kultureflash
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'...original, compelling and provocative production.'
Manchester Online
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'This production expertly evokes the backstage worlds of vaudeville
and burlesque performers, winding physical theatre, circus skills, chorus-line
moves and music into one dizzying carousel.' Sunday Herald
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for full review)
'Punch Drunk... contains within it dance, theatre, beauty, cruelty,
superb artistic acrobatics, elements of performance art all served up by
a company of artists at the top of their game.' Edinburgh Guide.com
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for full review)
'All six (dancers) bring an infectious humour and technical prowess
to their performance. Characters such as these are theatrical gold dust,
tugging at the heartstrings with unrequited enthusiasm.'
*** The Scotsman
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for full review)
'A fierce, dark, yet edgily-funny production from a multi-talented,
multi-national company celebrating 10 successful years of the show going
on, regardless.' **** The Herald, Glasgow
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for full review)
'Punch Drunk makes ravishing, intensely sensual theatre. Director Charlotte
Vincent keeps the narrative strands simmering and the emotions raw.'
The Stage
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'...enthralling and compelling' SCAN
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'Punch Drunk is technically and theatrically demanding, energetically
relentless, tightly choreographed.' British Theatre Guide
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for full review)
Let The Mountains Lead
You To Love (2003)
'Vincent Dance Theatre's first appearance on the Lyceum stage
heralds a stepping up in scale for the Sheffield-based company.'
Sheffield Telegraph
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'The poetic physicality of her (Charlotte Vincent's) style is absolutely
suited to the rough and tumble complexity of our times' The
Stage
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'An extraordinary work from the outset...emotionally bold and physically
remarkable. Charlotte Vincent's multi-task vision is fresh and engaging,
the dialogue tightly effective and the dance element elastically watchable'
Independent on Sunday
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'...their (the performers) dancing blend deliberate, almost gymnastic
klutziness with pinches of trusting tender lyricism.' The Times
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On The House (2003)
'Howard and Orlik are impressive in their athleticism and
controlled power, and the piece is surprisingly engrossing as the audience...eavesdrop
on their relationship, with its intimacies and gestures, and often ingenious
synchronisation.' Sheffield Telegraph
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for full review)
'On The House is sensual in its exploration of the physical realms
and captures the imagination immediately. A real piece of art.'
Sheffield Star
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for full review) (80Kb)
On The House (2000)
'Actual and fantasised intimacies made touchingly public'
The Guardian
Drop Dead Gorgeous (2001/02)
'The commitment and intensity of the performers is remarkable
and ensured that the work kept my attention throughout.'
Dance Europe
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'...this is a valid setting for traumatised survivors in the rubble
of war, trying not only to live but to find shreds of laughter and love.'
Independent
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'Uncomfortably raw and real.' The Times
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'Painful to watch and agonising to perform...Images are socked home
like cruise missiles...performed with great commitment...a powerful plea
for peace...' The Guardian
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'... the physical struggle in this piece was made brilliantly clear...'
Sheffield Telegraph
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'Drop Dead Gorgeous is the ultimate antidote to mediocre theatre.'
Trowbridge Guardian
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'An extraordinary performance of poignant physicality' La Sicilia
'A work of undoubted impact, shocking and highly original' Giornale Di Sicilia
Caravan of lies (2000/01)
'Painfully moving and compelling. It's not often you find dance
theatre that has such energy, emotions and interwoven layers of well-structured
meaning and imagery, but Charlotte Vincent and her outstanding company really
excel in getting under the skin of personal dilemmas that we can all recognise'
The Herald, Glasgow
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for full review) (240Kb)
'Good, intriguing performances and impressive agility from all, with
the set and music creating just the right balance of disturbing broodiness.'
Sheffield Telegraph
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Falling From The High Rise
of Love (1999)
'Dance as dysfunction, a site of conflict, becomes dance as
affirmation, the response of most use. This show matters emotionally, and
pushes dance forward as it does so' The Stage
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for full review)
“A very physical piece and promisingly innovative.' Sheffield Telegraph(click for full review)
'This dance is rough, sometimes vulgar, full of violence, like a colloquial speech - this is powerful theatre. Incontestably comical, full of adventures, unhappy accidents, clumsiness and naivety' Zycie Na Fali, Poland
Glasshouse (1998)
'A simply striking performance film' Channel 4
TV Commissioning Editor (Arts)
Chthonian Pleasures
(1996)
'As far as physical theatre is concerned Vincent Dance Theatre
go further than most. Gone were meaningless spatial gestures ubiquitous
in this genre, and instead we were confronted with brittle, emotionally
charged idiosyncrasies which often exploded into a kind of clumsy, unbearable
reality. An unforgettable performance.' Total Theatre
Noli Me Tangere (1995)
'Punishing, at times savage choreography... fast, agile, compulsive.
Remarkable in its intensity, dizzying leaps and crashing falls... strong,
intelligently conceived... brave self-exploration...' Yorkshire
Post
'A young company with such a focused sense of style and purpose...
performed and created with intense assurance.'
Hampstead and Highgate Express
Intercourse (1994)
'Sheer female strength, challenging the concept of male classical
dance, powerful work at the vanguard of physical theatre' Sheffield
Telegraph
