Dublin Fringe Festival 2025: Change

Chris O'Rourke
7 hours ago
3 min read

Change, by Croí Glan. Image, Emma Jervis

***

Integrated dance company, Croí Glan, wear their heart on their sleeve. The cynical, those with overt political agendas, or the downright stupid might dismiss them as overly woke. Promoting ideas which have been around since the 1960s, or longer; inclusivity, multiculturalism, anti-capitalism. Old news given new life in the 21st century. Which is not to say such notions are without issues, or that their representation frequently falls short or sounds rote. Which is sometimes the case with Croí Glan’s Change. A multi disciplinary work loaded with self conscious rhetoric on climate change. Beginning with a voice over you can barely hear, later informed by direct quotes from Rebecca Solnit, Christiana Figueres, Arundhati Roy and Marie Annaise Heglar you don’t want to hear for interrupting the flow of performance. Yet listen closer. For Change has things to say and speaks best when it lets its bodies do the talking.

Even so, choreographically, individual sequences can leave much to be desired, many looking like exercises from a movement workshop. Rehearsal prompts that never properly flourished beyond their initial points of reference. An opening sequence of three seated dancers, hands interlaced as they try weave into another position, being a common basic exercise. The push and pull of the leader, slow shifting in and out of tableau, tapped out rhythms or martial arts katas all similarly entry level. Yet though individual elements are initially weak, collectively they chart a journey from stress and strain to effortless effort. Arms and bodies, stiff and slow like roots, evolving to find solace in connection. Able bodied and disabled dancers Yves Lorrhan (Brazil), Rocio Dominguez (Argentina), Rachel Paul (France), Andrea Williams (Cape Verde), Bobbi Byrne (Ireland) striking up a chemistry of care and rich conversation. Jazz steps, some loosely synchronised floor rolling opening up richer, more engaging possibilities. Collaborations that might look like accommodations for the disabled being a false perception. Dancer Rachel Paul, on crutches, spends everything onstage in a performance marked by bravery, resilience and vulnerability. Introducing physical juxtapositions opening alternate ways of looking that push at the limits of representation. Even as the heart, impulse, energy and cost for each dancer remains the same.

Technically, Change is mostly a success. Despite a sound design with poor voice overs, Benji Bowers compensates with some deeply evocative compositions. Against which Gearoid oh Allmhurain’s lights are beautiful tempered and Deirdre Dwyer’s mobile of plastic bottles smartly and economically highlights climate change. Yet Change is really about changing ourselves, and our policies. To that end all cultures, sexes, bodies and abilities must work as one, reflected in a diverse cast and resolved in the frailty of its final image. Bodies silently shaping tent poles to craft tableaux that become reeds, or bamboos, bending without breaking. Change’s diverse ensemble speaking to how we best approach our future; united. Choreographically, Change is not Tara Brandel’s (with dancers) strongest work, but it exudes a quiet power in places. Croí Glan’s inclusive practice working towards a better tomorrow. Echoing Martha Graham's;