Review: Near Gone

Near Gone. Pic: Comp
Near Gone. Pic: Comp
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A CURIOUS dance-theatre crossover here morphs deftly into one of the Fringe’s more moving performances.

* * * *


On a stage surrounded by hundreds of carnations, Bulgarian dancer Katherina Radeva describes a hot summer day in Sofia, surrounded by hills, tourists baked by the sun. But in an idyllic suburb, her four-year-old sister suffers a terrible accident, and to the beats of Balkan gypsy music she describes her fears to furious dance in the most difficult of times.

Told in translation by her partner Alister Lownie, whose relationship to the story is slowly revealed, it’s interspersed with extended dance sequences which give it a strange audio-visual sensation. The choreography is relatively simple, but the energy is at maximum, and as Radeva pumps more of herself into the dance, she surrenders more and more of her vulnerability and desperation.

It’s a brilliantly captured performance, at each dance, her frustrations come more to the fore, as mutating but not losing the dance’s original lustre.

But Near Gone’s title is the giveaway here, and the show has a ritualistic style that, with each musical interlude, makes you think you’re part of some ceremony.

Until 23 August