The Place Prize 2006 Semi-Final, The Place, London <!-- none onestar twostar threestar fivestar -->

Zo&euml; Anderson
Friday 15 September 2006 00:00 BST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

The entries are certainly varied. The first Place Prize semi-final has Christmas trees, sibling rivalry, burbling free jazz and some taut dancing.

This is the biggest prize in British contemporary dance. Sponsored by Bloomberg, it offers choreographers the chance to win £25,000. The 20 shortlisted choreographers are given support in making a new 15-minute dance. The judging panel, chaired by The Place's John Ashford, includes the musician Brian Eno and the artist Chris Ofili.

In practice, the Place Prize seems to reward emerging artists rather than big names. Applications tend to come from those working on a smaller scale - some established, others starting out. The first competition, held in 2004, produced no masterpieces, but its finalists came out with significantly higher profiles.

This semi-final offered impressive dancing standards. All performers moved well, and distinctively, and there were some promising dances here. The competition has generated a buzz, and spectators can influence the prize, as one of the five finalists will be selected by audience vote.

Forest, by Maxine Doyle and Felix Barrett, was dominated by 19 Christmas trees. Fernanda Prata made her entrance from under one, worming her way out. It was a striking stage picture, and there was one terrific image in the piece, but the dancing meandered, full of winding moves.

Freddie Opoku Addaie won the audience vote, including mine. Silence Speaks Volumes had some lovely dancing, with silky torsos and stamping feet. Addaie included gestures - an "OK" sign with spread fingers, pointing hands, stern glances - but weaved them into dance patterns. Two women, side by side, stomped on the spot, with the liveliness of a Charleston. Chris Rook, too, partnered with easy grace.

In All End In Tears (The Wardrobe Piece), Alex Broadie and Chris Evans acted out a childish rivalry, with Broadie emerging from a wardrobe to squabble with Evans. This physical theatre piece lost focus, but was deftly observed.

Chem's Soul, by Anh Ngoc Nguyen, started with artful posing, but moved on to quick, sharp dancing. Alina Lagoas dived around two men, lines bold and strong, then fluttered from pose to pose. Movement was sleek. Jane Mason, dancing Come on Sun, stomped with energy, but her choreography slipped into airy-fairyness.

The Place Prize runs until 30 September (020-7121 1100)

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in