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IAM, Tramway, Glasgow

LAST time round, Errol White put himself and his company through the varied paces of an attractively mixed bill.

For this new touring programme, White and his creative partner Davina Givan have taken on the challenge of shaping a 50-minute piece for eight dancers (including themselves) and again, there is much to please the eye even if there is still some work to be done on getting the whole ensemble to meet and sustain the incisive crispness demanded by the choreography.

The movement vocabulary in IAM majors on re-iterated motifs: scything kicks, whirling spins, floor-bound stretchings with a resilient arm tendrilling upwards are particular features. These recurring elements, like the moments of close-grappling connection between couples, hint at the similarities in our relationships and experiences – yet when circumstances or partners change, the dynamic of the steps and the nature of the interaction also shifts. Or should, because even when personal history seems to repeat itself we are, inevitably, marked and made different by our encounters with others.

Here, IAM opts for collaged images rather than a clearly-defined linear narrative. It's up to you to choose whether you try to join up the dots offered by the coded costuming, the painterly lighting design and the soundscore that shimmers and percusses through a moodscape of musings and hyper-activity. You could, of course, just watch and especially enjoy White himself, uncoiling elegant limbs in questing solos or in fast-paced duets with Givan where he sweeps her into high lifts or their limbs interlock and merge into one exceptional moving being.

HHH

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