The Edinburgh Guide By Gary Platt
Bonedust is performed by Lucy Suggate. Not only is she a wonderful dancer, but her self-choreographed exploration of death and the implications for the dancer is exciting, intriguing and laugh-out-loud.
The opening section performed in a skull mask echoes the work of Hieronymus Bosch in his portrayal of the living dead: grotesque, beautiful and compelling. There follows a short dialogue with the audience where the dancer reveals something of herself and the quandary she faces in trying to understand how death impacts on the role of the dancer.
This interlude is very funny, allowing the audience to relax before the final compelling dance is delivered – a fluid and rhythmic sequence exploring the dissolution of the body, the separation of sinew, bone and tissue.
Suggate’s work is masterful, both in terms of her stylistic command and also in her ability to engage the audience. She achieves an exquisite balance between what is amusing and what is frightening, and it creates an extraordinary performance. This is a dancer of serious ability. I have absolutely no doubts we will be hearing more and more about her in the years to come.
BROADWAY BABY By Rhiana Udhal
The second offering from Lucy Suggate is a joy to watch and her piece, a witty take on a Danse Macabre, is enthralling from the onset. In the dark, a billowing black smog appears: a tutu, from behind which appear pale legs, then a yellowing, grinning skull. Her graceful, lithe movements seem to defy gravity. An ironic and candid monologue follows on the difficult question of how she will dance when she’s dead. Google and Disney can solve the question though, so it’s okay. How wonderfully might she dance if she had no weight, no muscle, and no limits? She just has to tackle the problem of decomposition.
In a final section Suggate playfully explores her skeleton, in blissful awe as though moving for the first time, from single finger stretches to full articulation of every joint and socket. It’s delightful and makes you acutely aware of that extraordinary tool we have available to us, our skeleton.
The Skinny By Stephanie Green
Bone Dust by Lucy Suggate is also accomplished and ironic: a Dance Macabre with a difference. In the dark, out of a scary, billowing black tutu on the floor, a skull emerges. Lucy then talks about dance ‘beyond the rot’ in a highly amusing soliloquy. So often text introduced by dancers is of poor quality but Lucy is exceptionally talented as dancer and playwright and her dance imitating a cartoon skeleton’s movements is a delight.
Chitra Ramaswamy, The Scotsman
…..However, there’s more to come. Lucy Suggate, a choreographer based in Leeds and a former Place Prize finalist, is a magnetic dancer. Bone Dust is a short piece inspired by the medieval imagery of the Danse Macabre that poses the question “how will I dance when I’m dead?”. Suggate begins with an animalistic, body-popping dance in a black tutu and skeleton mask before putting on a pair of winged trainers and telling us about her “choreographic problem”. Finally, weirdly, she gets up and gamely dances her bones to dust.
Liquid Gold and Latin beach REVIEWS 2010/11.
Chitra Ramaswamy. Scotland on Sunday
….Place Prize finalist Lucy Suggate is one of the most thrilling dancers currently at Dance Base. She performs two short but killer solos in Base Elements, first in a gold bodysuit to weird, vocoder-treated music in Liquid Gold. Suggate’s torso undulates so the dim light shimmers across the gold, her spine as supple as liquid. It’s almost like watching body-popping in very slow motion. It’s futuristic, sensual and strange.
For Latin Beach, she tapes her face into a grotesque expression and dances a childlike, damaged samba in a pink wig and trashy dress. The music is hyper-masculine – the grizzled Americana of Ry Cooder – but the shimmying Latin dance hyper-feminine. It’s a jarring, disconcerting solo that says more about the constraints on female sexuality in a few minutes than plenty of text-based theatre says in an hour.
By Kelly Apter ( The Scotsman )
….Lucy Suggate, who has a hypnotic quality all her own
Gareth Vile :The Skinny review
Lucy Suggate’s two offerings – Liquid Gold and Latin Beach focus on the body. Latin Beach is twitchy and discomforting, as Suggate’s dishevelled showgirl costume, wig and taped face mock the external glamour of dance with the rigid discipline hidden behind the apparent grace. Suggate’s movements evoke both the fluidity of eastern forms and the awkwardness of a body compelled into unnatural shapes.
Using the slippage between the fantasy of the dancer, and the meathook reality of training and restraint, Suggate captures the liminal space between elegant facade and interior conflict: her virtuousity celebrates dance even as she questions the price that it has taken from her.
Base Elements consists of several short solo pieces. The show opens with Liquid Gold, a sensual work of incredibly smooth, fluid movements which sees dancer and choreographer Lucy Suggate transformed through a mesmerising dance performed in a shimmering golden catsuit with a solidly contemporary, funk-influenced style. Lucy Suggate also closes the show with a piece so different from Liquid Gold that it is at first unclear whether it is even the same dancer. Latin Beach is a technically skilled yet comical exploration of the disparities between the childhood dream of being a dancer and the rather harsher adult reality and, combined with Liquid Gold, showcases a performer with a truly impressive range.