Amidst the cardboard election banners dominating campus walls, posters for this year’s Fusion event ‘Story of Man’ are scattered. The annual entertainment show by Fusion society blends fashion, dance and music in an exciting production that after eight years of hard work has earned a well deserved place on the University’s calendar. The best part, which gives the show an intrinsic sense of purpose, is the fact that ticket proceeds will go to RAG, therefore supporting six charities.
The ‘Story of Man’ theme is an enormous and brave premise to tackle; the society defends this decision in a disclaimer found at the back of the program, which reads “The aim of this show was not at accuracy but at the provocation of thought”. They have handpicked moments throughout world history, some immediately obvious to the eye through the vibrant costumes whilst others entirely symbolic, and interpreted them through the signature mixture of dance, music and fashion that makes the show unique and current.
The sound system, though at times a little overpowering, blasted music to accompany the routines, jumping between current floor fillers to old favourites, as well as incorporating hints of dubstep and powerful drum and bass. The performance took a while to warm up, yet soon captivated the audience with the variety of the dance routines, which throughout the show ranged widely from ballet to breakdancing. The propless stage provided a blank canvas which changed to accompany each piece thanks to the technical team’s use of different lightings. This made the ‘Innocence’ routine more striking and symbolic as the pair dominated the stage, demonstrating some impressive lifts. Some especially creative dance choreography sent chills down the spine during the warped ‘Underworld’ routine, and at this point the production really began to pick up the pace.
Each routine contrasted the last, giving ‘Story of Man’ a pleasantly disjointed feel. Performances often didn’t suit their accompanying music, with the ‘Victorian Pickpockets’ dancers tap dancing to heavy drum and bass, which drowned out the sound of their shoes at points. This rap-infused piece was particularly energetic, and had the vibe of a village dance off, as a stir of dancers and models buzzed around the stage. Models strutted out charismatically in underwear during candy themed ‘Marie Antoinette’, a highlight for many audience members, with enough confidence and attitude to give Victoria’s Secret Angels a run for their money. This feminine power emerged again later with the dazzlingly styled, spade wielding ‘World War II Landgirls’.
What makes Fusion unique is its diversity, which causes mounting audience anticipation for each number. One particularly memorable part was the ‘Lovers’ piece which became a sub-plot within the ‘War Time’ sequence, as with gestures and passionate leaps the two dancers conveyed an intense emotional connection. The ‘Modernisation’ piece was an interesting choice, with its cynical depiction of marriage and robotic movements of the models. The finale, which made use of the stage as a catwalk, was a nostalgic parade and a reminder of all the previous routines, offering a taster of each.
Overall the show, which leaps and darts erratically through history, aiming to interpret particular periods, was impressive for a student production. A few hiccups, such as occasional out of sync dancing or the technical problem that caused the performance to start late, were soon smoothed over by the energy and enthusiasm of the cast. If you haven’t seen it yet, I recommend you do so, the production was a vibrant showcase of creative talent at York University and a visual treat.
Well done Sarah. Truly enthralling.