Photo by: Katarzyna Borek

Candoco Dance Company is a company based in London of a group of talented and diverse disabled and non-disabled dancers. In addition, “Bitesize Barbican is a series of free performances presented over lunchtime on the FreeStage in the Barbican Foyer, Level G.” If you ever get the chance to go on your lunch break, I highly recommend you to enjoy the performance art that is displayed at the Barbican Centre. Candoco Dance Company makes viewing and performing dance accessible to all and transforms the perception and definition of what is dance and who is a dancer. Audience members disabled and non-disabled patiently awaited to see You and I. After seeing this duet performance, I gained a deeper meaning of what dance is. Dance transcends and breaks boundaries, just as Candoco Dance Company does.

A heartfelt, romantic duet titled You and I was performed by disabled dancers Joel Brown and Laura Patay—and choreographed by trailblazing  English choreographer and theatre director Arlene Phillips. This was the first time Arlene Phillips had ever choreographed and collaborated with a disabled dancer in a wheelchair and worked with Candoco Dance Company. If you were in attendance of this Bitesize Barbican you would have witnessed a different virtuosity of movement with plenty of gestural and expansive movements. You and I was a new contemporary piece presented for this previous Bitesize Barbican. Joel Brown originates from Utah and Laura Patay is from France, however both dancers are now living in London a part the Candoco Dance Company. Previously they were interviewed by the local London news and highlighted in an upcoming documentary about dance and disability.

In You and I, Joel and Laura’s chemistry ignited the second they locked eyes on the FreeStage. They are the true definition of what a dance couple is. They have a natural relationship that cannot be forced or fabricated. Brown and Patay danced to a collection of pop songs and emoted a rather fiery passion for dance that radiated throughout the Barbican Foyer. Pedestrians from all walks of life would stop in their tracks on their lunch breaks just to witness the duet. Brown, a man of many talents, began You and I playing an electric white guitar and singing to the audience. His voice resonated and caught the attention of everyone.  The irony of the song he sang was about going to a dance and not being able to dance. However, he quickly proved he was more than capable. Following the song, out of the corner of my eye appeared Laura Patay like a fairy-like sprite sprouting from a mystical forest. Patay was dressed in a bright colorful, flower-patterned flowing dress and Brown was in all black. The entirety of the FreeStage was utilized by both dancers throughout the duet. The first segment of You and I was danced like a harmonious pair of love birds on a summer day singing back and forth to each other. Love was in quite literally fluttering in the air. Brown and Patay expanded and glided around the stage like love birds. Although Brown is in a wheelchair, he was far from stationary. Brown’s upper torso and limbs created shapes of sensitivity and spirit. His energy throughout the entire duet was percussive, but his timing seemed. A dull wooden table was placed diagonally on stage left that felt like it was forgotten. In the second segment, the wooden table was finally put to use and incorporated to signify the next stage of the relationship. They danced on, around, and under the table. Laura Patay stands confidently and powerfully on the table as Joel Brown looks up to her. A narrative was not clearly established, but one could be easily created by any member of the audience. The duet felt like a relationship going through stages. In the second segment, the use of arms and hands were accented and deliberate by both Brown and Patay. At one point Brown unfastens himself from his wheelchair and lifts himself on the table. The sense of support was shared among each daner and shared weight was seen throughout the entire duet. In the third sequence, the entire mood changed as if they were in a heated argument. Jerky, quick movements framed this argument. You and I, like many relationship-based dances, employs eye contact, strong characterization, and highlights the ups and downs of being in a relationship. The moment that dancer Joel Brown confidently plays his white electric guitar and Laura Patay returns to him and sits on his lap emits the sense of placidity and uncertainty of relationships. For instance, several times during the performance, the emotion and the score emphasized the stages of the narrative of the relationship. Arlene Phillips creates a beautifully, inspiring duet that lifts your spirit and easily takes you on their journey of love. At one point, Laura is planked on top of Joel as they glide smoothly around the surface. Phillips’ lively choreography allows the audience to sense the personality and chemistry between Patay and Brown. Phillips choreographs a new movement vocabulary for both Patay and Brown and includes a lot of partnering work.

I enjoyed sitting so closely to the performers due to the fact I could visibly catch every movement.. Because of that no movement was lost. I believe if I had seen this in an auditorium my mind would have wandered and I would have missed so much of Phillips’ cute and coordinated choreography. The score complemented her choreography and created a narrative that allowed the audience to be taken away by it whether it was purposeful or not. The relationship seems to span quite a longer time span than the fifteen minutes it actually. Watching the duet, I could not help but smile witnessing Patay and Brown interact like love birds. Both of them had a confident stage presence that continued throughout their duet. One moment that caught my attention was the minute they locked lips. Unfortunately, you may never see these dance like this together ever again.

Photo by: Katarzyna Borek