JOSS ARNOTT DANCE Press

Joss Arnott Dance utilised strong dancers, sharp choreography and fantastic lighting by Andrew Ellis. Setting out to show the physicality of his dancers, this choreographer reached his goal. Glimpses of a unique style peeked out from traditional Laban-style choreography, as Arnott appears to be finding his choreographic feet. As the dancers punctuate the darkness, their limbs captured in angular rays of light, threshhold showed that good dancers can make a choreography great, and with this talented team, Joss Arnott Dance are definitely set to make a mark on the choreographic map.

Libby Costello, londondance

By far though the most stunning setpiece of the night was Joss Arnott's 'threshold', displaying dancing of a certain calibre that the other acts could not quite emulate. In particular a flame-haired siren wowed the crowd with her scintillating high kicks and singular grace.

Patrick Cash, Remotegoat

Halfway into the evening, Joss Arnott Dance took to the stage promising extreme physicality and intense technicality in threshold. And from the very first precise movements of Lisa Rowley’s solo intro it was evident that they were there to deliver. The seven gorgeous, perfectly-matched dancers formed a slick, totally in sync corps when dancing together, while the dynamic staging also allowed the dancers’ individuality to shine through in a good mix of solo, duo, and group sections. The work was dramatic, fierce and totally rock and roll without being at all pretentious. A young company only a year old, Joss Arnott Dance is definitely one to watch.

Lesley Perez

Joss Arnott is an artistic talent to watch out for! As Artistic Director of Joss Arnott Dance he presented threshold to conclude the evening, and sent it out with a bang!

The style of this piece conjures up memories of genius Michael Clark as the seven female dancers take to the stage in metallic hot pants and striking makeup; this combined with each dancer’s edgy individuality is reminiscent of Clarks Punk influences. Lisa Rowley’s agility and beautiful technique kick starts the performance with infectious energy which is sustained throughout the entire piece.

The technicality of the piece was highly impressive and the ongoing combinations of solos, duets and trios are orchestrated perfectly. A must see performance.

Susanne Allen, londondance

Apropriately curated into the opening spot were the explosive undulations of Joss Arnott Dance. This was a big group of performers, busting out Gaga-esque crowd-pleasing fireworks of solo and group action. The fierce dynamic of the work was thrilling, as movements were recycled into different body parts and combinations of dancers.

Jeffrey Gordon Baker, Remotegoat

The jewel in this bill’s choreographic crown was definitely Joss Arnott Dance. Having watched Arnott’s piece, threshold, a few weeks ago at Cloud Dance Festival, it was great to see that in this new space and without the dramatic lighting that this work still held it’s own. Gaining the opportunity to see a new company’s work for a second time is rare but always illuminating, Arnott’s work felt familiar yet brand new as there is so much to take in from this strong all female cast.

The seven dancers were drilled to perfection for their unison work, performing with attack and dedication to the movement. The intimacy of the setting really gave the group work more gravitas plus giving us a chance to view the vogue hairstyles and MAC perfect makeup!

A second viewing of Joss Arnott Dance certainly confirms that this company can deliver - now we can only wait (hopefully not for too long) for the next piece.

Libby Costello, londondance

Opening the evening was Joss Arnott’s youthful and dynamic company, Joss Arnott Dance, with their work threshold; a fierce burst of energy on the intimate stage. Previously performed as an extract at Cloud Dance Festival in July, threshold took on a whole new persona away from the comforts of a traditional theatre setting. Up-close and personal the audience had the rare experience of witnessing every breath and drop of sweat as the dancers thrashed their way through the full-length work. Foreign, insect like isolation and body ripples gave way to vigorous dashes across the stage and sharp extensions of flexible limbs as the dancers connected and disconnected with each other in a relay of movement. Most impressive, however, is the slick unison section, reminiscent of choreographer Hofesh Schechter’s work in its weighted, grounded movements performed with tribal synchronisation. Tirelessly energetic, unarguably talented and always entertaining, Arnott’s dance company are, in every sense of the phrase, ‘one to watch’

Jennifer Teale

Opening the evening’s bill of performances, threshold actually took on a whole new dimension in this space. The sharp, incredibly dynamic movements were still there, but under the harsh new light articulation became more apparent, intricacies more eloquent, and the fantastic strength of the dancers more exposed. Where Joss excels is in utilising pace, tempo and staging to ensure his choreography remains gripping throughout the duration of the performance. Bursts of great physicality are tempered by more quiet, introspective flashes of personal exploration and no detail is left undirected: ripples running through the torso, the turn of a head, slow rotation of a wrist and glances between dancers are delicious touches that give viewers (and the dancers) so much to explore. A moment of hunched over heartbeats that swept past at CDF was eerily affecting in this performance. I’m excited to see what this incredibly promising young company does next, and hope that Joss’ next choreographic outing will continue to build on the principles that make threshold so strong.

Lesley Perez

Occasionally there is a performance so exciting by a company so committed that watchers feel they’re in at the start of something special. Joss Arnott Dance, presenting and discussing their new work through Pre:View, are clearly ready for the big time.

Seen close up, the effort and tension in the athletic bodies of the five female dancers were obvious. Wearing sheer tops and shiny shorts, they showed strength and power as they contorted into hypermobile positions, switching from rapid robotic aggression to controlled, balletic hyperextension.

Through a haze of dry ice, they moved emphatically in unison in warm golden light, before splitting off for a series of dynamic solos celebrating their individual physical abilities: as performer Lisa Rowley explained afterwards, following years of dance training it was empowering to be able to show off their full range of movement.

The Argus, Brighton Dome March 2011