To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
THE first thing we are told of Grupo Corpo dance company (★★★) is that it is legendary. Not so at The Playhouse Theatre (Edinburgh International Festival) where, needs must, the troupe became actual to its well-behaved mature audience.
Hailing from Brazil, Grupo Corpo’s numerous dancers are fabulously adept and committed. They elegantly embody healthy bravura, free pelvic gyration and richly fluid co-ordination. It is phenomenal to witness two or more of these dancers throwing swift complexity in tight collegiate imitation. It’s also perennial. In the main, the choreographic draughtsmanship of Rodrigo Pederneiras distributes these bodies uniformly across the vast stage space and I too felt equidistance, amid a short ration of cardinal events that I could home in on or rebound from.
Two substantial dances were given. They explored synchronised duets and pack sequences, with the full company massing to pull out all the stops with closing unison moments. Proliferation is thus unveiled and part of us knows this to be existentially tragic (don’t mention the rainforest) even where positive images are offered.
JAN WOLF enjoys a British revival of the 1972 come of age farce/panto Pippin
MATTHEW HAWKINS recommends three memorable performances from Scottish dance artists Barrowland Ballet, In the Fields Project, and Wendy Houston
Given the tawdry push and pull around disability benefits, MATTHEW HAWKINS relishes Dan Daw’s defiant celebration of body and sexuality
ANN HENDERSON on the exciting programme planned for this summer’s festival in the Scottish capital


