Last year, when I reviewed The Sum of Parts, the community-oriented piece produced by Connect, Sadler’s Wells Creative Learning department, I thought it wouldn’t be possible to do any better. Well, I was wrong, as this year’s Compass was an even more breathtaking experience. The new project, which involves more than 100 non-professional performers and a unique roster of artists, has been conceived at a time when World Cities 2012, Pina Bausch’s retrospective of works devoted to cities and cultures from around the world, is imminent. Compass, however, focuses only on London, which is a vibrant melting pot of diverse and complementary cultures.
It is this idea of celebrating distinct identities and of combining them in a dance communion of different skills, ages and abilities that is an absolute winner. The result is a one-hour-long visual and aural feast enhanced by filmic and photographic interventions by Tal Rosner and Gigi Giannella, and a great score by Donna McKevitt and Hannah Peel — partly played live by Peel herself and James Field.
Get Britain's best politics newsletters
Register to get The Spectator's insight and opinion straight to your inbox. You can then read two free articles each week.
Already a subscriber? Log in
Comments
Join the debate for just $5 for 3 months
Be part of the conversation with other Spectator readers by getting your first three months for $5.
UNLOCK ACCESS Just $5 for 3 monthsAlready a subscriber? Log in