EdFringe Review: Beats on Pointe

This year, theQR.co.uk is partnering with the Traditional Dance Forum of Scotland (TDFS) to support the continued development of new dance critics they began mentoring last year. This review of ‘Beats on Pointe’ has been contributed by Catherine Coutts, ceilidh caller and highland dance teacher writes…

Well. I didn’t expect to enjoy Beats on Pointe as much as I did. In fact I’d already drafted the bones of a review in my head: Something which showed appreciation of the dancers’ skills and technique but sniffing at the concept itself and finishing with a slightly condescending remark about how important crossover productions like these are at
attracting young people into the arts (think Red Hot Chilli Pipers) – because as a middle-aged person, I didn’t expect to “get it”.

But here’s the thing – not only did I get it, but I spent most of the performance with a ridiculous smile on my face.

Beats on Pointe is the baby of Jennifer and Milo Masters and their company – Masters of Choreography – which has had successful runs at several Edinburgh Fringes and elsewhere. The show was held in the stunning central location of the Assembly Rooms (check out the
chandeliers, and domed ceiling in the unlikely event you haven’t been there before).

Despite the Georgian splendour, the Music Hall is accessible – there are ramps, lifts and seats on the ground, together with quiet spaces for those who need it.

“But here’s the thing – not only did I get it, but I spent most of the performance with a ridiculous smile on my face.”

Aside from one large prop at the side of the stage – a DJ booth – the setting is entirely black, allowing the audience to focus on the dancing.
The cast burst onto stage in the opening number, demonstrating many different genres (I spotted ballet, contemporary, street, tap, commercial and acro during the show). They are clad in black with a few tutus (why have a plain tutu when you can wear a sparkly one?)

However, it’s the second piece which really gets the audience going – a dance battle to ‘It’s like that” by Jason Nevins and Run DMC. The Masters clearly recognise the importance of using great music which the audience loves to elevate the dances to the next level – subsequent routines feature Rufus & Chaka Khan, Eminem and Janet Jackson amongst others.

Certain routines are in danger of being slightly cliched (a comedy version of the Dance of the Cygnets, glow in the dark costumes, a slo-mo fight over the dance battle results), but the sheer professionalism of the production, together with the technical skills and warmth of the dancers avoids this. I was in awe of the stamina of the cast: Although not all were on stage all the time, it’s not a huge cast and they did a LOT of dancing.

There were numerous costume changes (so the dancers were not really getting a chance to rest when off stage – one would imagine that they came off stage exhausted from one number, had the stress of a quick change and then back on again). The wardrobe team deserve mention: Costumes were beautiful and varied without overshadowing the choreography.

Rihanna’s “We Found Love” brings the event to a final, joyful conclusion as the dancers skip offstage after a morning of brisés, fouettés, backflips and other killer moves.

Children – take your grown ups, they’ll love it!