A CONFRONTING AND COMMUNAL TRIUMPH THAT STRETCHED ACROSS DANCE GENRES

By Madeleine Anderson ⭐⭐⭐⭐ | Press Invite

Michelle Dorrance and Ephrat Asherie’s The Center Will Not Hold is far more than a conventional tap production; it is a richly layered exploration of rhythm, community, and street-born dance traditions. Moving out from an intimate duet into a full ensemble work, the piece brings together an exceptional cast, including Charles ‘Lil Buck’ Riley, the Memphis jookin’ pioneer renowned for his gravity-defying glides. His movement, sliding effortlessly across the floor as though hovering, sets the tone for a performance rooted in rehearsed skill and fresh dance innovation.

The show draws deeply from Black street and club dance cultures, weaving together styles including house, breaking, hip hop, Chicago footwork, Detroit jit, litefeet, and swing. This diversity creates a dynamic tapestry of movement, with dancers shifting rapidly between solos, duets, and ensemble sections, many of which feel improvisational and alive in the moment. Too loose at times, the sheer technical skill on display is undeniable, but the performance resists the urge to overwhelm.

The stage remains shadowy throughout the show, the score simmering rather than explosive, allowing rhythm to build gradually and subtly embed itself in the audience. Even Dorrance’s tap work reflects this sensibility, mellow, fluttering, and understated rather than forceful. Moments of rapid movement ebb and flow with slow sections, giving the piece a sense of breathing and reflecting rather than constant climax.

Atmosphere plays a crucial role. The harsh, minimal white or blue lighting often leaves dancers partially obscured, contributing to the work’s moody, swaggering tone. While creating an otherworldly or deep sea aura, this choice occasionally limits visibility, making it difficult to fully appreciate the intricacy of some of the more complex footwork. Brighter staging might have enhanced the audience’s connection to these details.

Percussion is central throughout. A musician, equipped with portable drum pads, moves fluidly among the dancers, engaging them in rhythmic physical dialogue. At times, he sheds the kit entirely, collaborating with performers to create hypnotic beats using a table or even his own body. This interplay blurs the line between dancer and musician, reinforcing the show’s communal spirit.

Audience reactions (frequent shouts of approval, including calling out dancers by name) underscored the work’s impact. In just an hour, the stage feels fully inhabited, every corner activated by lunges, twists, and intricate footwork, leaving a lasting impression of controlled energy and quiet power.

The Center Will Not Hold was performed at Sadler’s Wells from 17 to 18 April.

WEBSITE

⭐⭐⭐⭐

Photo Credit: Christopher Duggan