I want to preface this review with a home truth I’m not afraid to admit: until going to see White Caps at TakeOver Festival I had never willingly gone to watch dance live. Not really knowing what to expect, I went to Champloo’s production of White Caps with scepticism and wariness in equal measure. However, straight from the off, it became apparent that I was witnessing something quite special.
The show, written and directed by Wilkie Branson explores the bond of two characters who journey away from their guardian protector and battle to the top of a mountain. The project, devised by Wilkie who is joined in performance with Joel Daniels, is told methodically through dance, and pulls from working towards the ideal of aspiring to achieve as well as drawing from the personal relationships between the two dancers. The story is communicated with a blend of live ‘B-boying’ (a form of hip hop dance originating from 1970s New York) and film, intertwining the two creating a unique aesthetic for the production. The choice to use a multimedia element added another level of interest and dynamism to the show.
The poignancy of the show was epitomised by the simplistic nature of the set and the accompanying soundtrack. The dancers performed behind a large transparent screen on which the film images were projected, with only light fixtures portraying lightning above them. The soundtrack swayed between more acoustic compositions for the film elements and stronger almost dubstep-esque beats for the darker moments. The contrasting of the upbeat aesthetic in the film, with emphatic music accompanying dancing through beautiful landscapes with the bleaker, harsh and heavy beats of the live performances worked wonderfully.
However, although the story itself was interesting, it was emphasised by the focus and determination of the companies dancing abilities. I was truly astonished at the drive and dexterity of the two but also, more simply, how they kept up such energy and quick pace for the entirety of an hour. They were at the top of their game; with every move they threw their body around the stage with conviction and a perfect choreography – an obvious result of hard work, dedication and a long tour of this particular show. The professionalism of the performance must be commended; White Caps was polished to an outstanding degree, there were no mistakes or any faulting in energy and commitment throughout. The audience were enthralled throughout, an engagement between performer and participant that most shows can only dream for.
White Caps is a frenetic, dazzling spectacle and it’s not hard to understand why it’s been touring for the best part of three years. Unbeknownst to me, I was witnessing the final ever performance of this performance, but I’m sure whatever projects Wilkie and Joel go onto in the future will be equally as successful and entertaining. White Caps is a magnificient spectacle of what the human body is capable of punctuated by projections of beautiful nature and landscapes. Champloo have created a truly immersive and awe-inspiring experience.