The quantity of dance theatre being showcased at the Fringe has increased notably over the past few years, melding performance with music and rhythm, becoming accessible to a larger audience, which in turn fuels interest in becoming involved. Whilst high profile acts and productions such as Riverdance and Stomp have fulfilled the mainstream audience, smaller companies have had to look to more innovative combinations of music and movement to stand tall in the crowd, and Stormforce is a shining example of what can be achieved.
Billed simply as a clash of Celtic folk and ethnic African rhythms, the show itself goes beyond these two styles, mixing the traditionally restrained Irish dancing with the exuberance of African tribal celebrations to a wildly varied soundtrack. There’s a story to be told here as well, as the harmony that reigns over the Afro-Irish lives is stolen by a third element in the shape of a futuristic villain, complemented by a contemporary, electronic soundtrack. In fact, every appearance is accompanied by a Peter-and-the-Wolf-style signature, which all evolve along with the story.
The performances are confident, with a little raggedness forgiven by the fact that this is opening performance. Whilst the individual dances have certainly been seen before, they are combined to great effect within the story, with the combat sequences between the heroine and villain notably standing out alongside the tremendous African drumming accompaniment.
Whilst it’s difficult to imagine exactly what the Zulu nation would have thought about Lord of the Dance if they met it in the Hall of the Mountain King, Stormforce gives us a glimpse of how the music and dance of two totally different cultures and millennia can combine in 60 minutes and leave an audience thoroughly entertained.
4/5
Simon Ferguson
