Precision meets instinct
Wir sagen uns Dunkles, choreographed by Marco Goecke, opened the evening with tightly controlled tension and an extraordinary physicality. The dancers of NDT 2 delivered the piece with precision and stamina, moving through its sharp, segmented movement vocabulary while still maintaining a surprising sense of fluidity—so at times, they seemed to hover in the air yet remain grounded.

The eye was naturally drawn to the dancers’ upper bodies, predominantly their arms, which became powerful tools of communication on stage. Repetition played a clever role as well: gestures reappeared in sequences, and motifs echoed through solos, duets, and ensemble sections, tying the piece together into a cohesive whole. A standout was American performer Nathan Allen, whose solo work framed the piece and brought a strong through-line.
For me personally, the choreography fused animal and machine-like movement qualities. Twitching torsos, sudden isolations, and expressive breathing made the dancers look caught between instinct and automation. Movements often radiated from their chest or core, creating an oscillation between sharpness and softness, control and release. Some of the moves looked almost ridiculous, resembling bird mating rituals at times, yet the dancers performed them with precision as an equal part of the choreography.

Visual minimalism played a key role in the piece’s overall aesthetic. The simple costumes, accented with a line of fringe along the trousers, subtly enhanced the motion without distracting from it. Combined with a stripped-back stage design, this kept the focus on the dance and the varied soundtrack, which ranged from classical to pop. Although the lighting occasionally obscured the dancers’ facial expressions—perhaps echoing the “shadow” in the program’s title—the performance held its intensity throughout.

The wall as dance partner
The second piece of the evening, Walking Mad by Johan Inger, brought a gentle shift in tone, energy, and aesthetic. At the heart of the choreography stood a long wooden wall—unchanging in presence, yet constantly shifting in form and function. Sometimes a barrier, sometimes a dance partner, it really became a metaphor for the boundaries we build and contront, as the authors suggested.
Midway through, the wall bends, creating a wedge of light and space where dancers cast elongated shadows, adding a dramatic visual layer. More than just a set piece, the wall is danced with, leaned on, bounced off.

The choreography balances humor, intimacy, and playfulness. Dancers in colorful costumes also bring a theatrical flair—hiding behind the wall, popping through openings, or using its hole like a mirror. Their (sometimes exaggerated) gestures, such as thrusting hips, sudden shakes, and direct glances to the audience, add a touch of levity, while still grounded in modern ballet technique.
Just as Ravel’s catchy Boléro builds to its expected climax, the energy softens. The music fades, and we’re left with an emotionally charged duet. It feels like a close-up—two figures caught in a moment of longing and dependence, pulling each other in and letting go. The link between this intimate dance and the earlier group scenes isn’t spelled out and leaves the viewer a little confused, but the emotional weight of the final scene is undeniable. By that, Walking Mad blends humor and vulnerability, using an ever-shifting wall to explore boundaries, relationships and the fine line between conflict and connection.

A finale of collective power

The evening closed with Watch Ur Mouth by Botis Seva, a powerful, genre-blurring piece that delivered an intense finale. Rooted in hip-hop but reaching far beyond, the choreography brought street styles into dialogue with the aesthetics of a ballet company, layered over a soundscape that shifted from pulsing beats to eerie quiet. Seva, a British choreographer known for merging physical theatre with hip-hop, brings a much rawer approach to the stage.

Music composition by Torben Sylvest set the tone, occasionally pierced by a voiceover that alternated between critique and motivation. These spoken moments made the piece feel pointed and intentional, aligning with the piece’s theme of confronting criticism.
Dancers again moved with precision, this time repeatedly locked in fast-paced running on the spot which became one of the piece’s unifying motifs. The last choreography definitely stood out from the rest with its urgency. Alongside, lighting played an essential role, adding a sci-fi edge with moving spotlights, creating zones of tension and mystery.

Rather than focusing on individual performers, the piece thrived on group energy. The ensemble often shifted as one body, pulsing with collective strength, only to break into moments of playful interruption. This constant contrast—between silence and blast, tension and release—kept the audience engaged. At one point, you could feel some from the crowd gently swaying in their seats, pulled into the rhythm and atmosphere.
As the performance unfolded, the fusion of styles deepened—ballet company intertwined with street vocabulary, hip-hop gestures and contemporary expressions. Though there were moments of solo and duet work, what lingered was a sense of unity: a group moving with shared purpose, once also wrapping into a collective hug.

Watch Ur Mouth brought the evening to a fitting close as ambitious and high-energy final point. In my eyes, it somehow embodied the spirit of a new generation of dancers who, at least based on Dutch Falling into Shadow, seem to move freely and fearlessly across styles.
The composed triple bill offered a well-balanced performance that showcased NDT 2’s technical ability and adaptability. At the same time, the program demonstrated the company’s strength in negotiating distinctive movement languages and choreographic approaches. Though not all elements worked in complete harmony—for instance, the lighting design occasionally detracted from the overall clarity of the performance—the evening highlighted the company’s artistic maturity and fresh energy.

Written from a reprise on 16 April 2025, Stadsschouwburg Utrecht, the Netherlands.

Wir sagen uns Dunkles

Choreography: Marco Goecke

Stage by: Ralitza Malehounova

Music Advisor: Jan Pieter Koch

Light Design: Jan Pieter Koch

Decor and Costumes: Marco Goecke

Rehearsal Director: Ander Zabala

World Premiere: November 4, 2017, Zuiderstrandtheater, The Hague
 

Walking Mad

Choreography: Johan Inger

Stage by: Yvan Dubreuil

Light Design: Peter Lundin

Decor and Costumes: Johan Inger

Rehearsal Director: Lydia Bustinduy

World Premiere: May 17, 2001, Lucent Danstheater, The Hague

Watch Ur Mouth

Choreography: Botis Seva

Assistants to the choreographer: Jordan Douglas, Victoria Shulungu

Music Composition: Torben Sylvest

Light Design: Tom Visser

Decor and Costumes: Botis Seva

Rehearsal Director: Lydia Bustinduy

World Premiere: March 27, 2025, Amare, The Hague

 

Dancers: https://www.ndt.nl/en/dancers/ndt-2-2024-2025/