From the Q&A following the performance on 24 October we learned that 1,000 dancers aged 18 – 26 from around the world submitted films in application for the professional development opportunity to join Shechter II.  400 were then invited to participate in an on-line audition, then 60 to a live audition that identified the eight dancers that form the company. Unsurprisingly, the dancers are amazing. Two were from the UK and both had been part of a Centre for Advanced Training (CAT) programme. 

We also learned that Hofesh Shechter made the piece for Nederlands Dance Theatre as a love letter to England. Eclectic images of Englishness include rain, school uniform, choral music, a cup of tea and nostalgic qualities of formality, stoicism and tradition. The dancers talked about being given feelings, ideas and intentions, of moving like smoke and being one moving spirit with individual stories. I had not seen exactly what the dancers talked about, but I recognised it when they did.  

Opening with a restrained, formal and at times, menacing unison sequence accompanied by Elgar’s Nimrod, darkness, chaos and violence descend until daylight and birdsong brings the work to a calm, bewildered conclusion. The familiar Shechter high-energy movement is weighty, involves every fibre of every dancers’ body and connects with the audience physically. Moods are set up, then disrupted and punctuated with contrasting dynamics – a sudden ballet sequence, stillness or violent gesture. The choreography feels highly deliberate and considered, orchestrated to form intricate phrases woven together like the parts of a choir. The evocative lighting, finalised at DanceEast, defines movement and sections. The additional ‘English’ music by Tallis, Purcell, Monk and Elgar combine with electronics and rock composed by Shechter. 

At 55 minutes, ‘From England with Love’ feels perfectly formed. I found it rich and intense, absorbing and enjoyable, a work that mystifies, shocks, excites and satisfies.