It Will Come Later is the result of a collaboration between international choreographers from Wales, Sweden, Hungary, Poland and Hong Kong. Created by iCoDaCo (International Contemporary Dance Collective), the collaboration happens every two years and is intended to demonstrate not only that people from different places can comfortably co-exist, but that they can collaborate to great something greater than the individual parts.
Knowing this before you see the show is probably helpful.
The show is performed in the round. Centre stage is a rotating curtain, flooded with light. Simon Banham’s set revolved throughout the piece, symbolising continual effort. This is echoed in Gosheven‘s thrumming soundtrack. And this theme is also taken up by the performers. First individually, then in groups, they exert every fibre of the respective beings to move forward. Sometimes, the knotted bodies seem to hold each other back, to prevent progress, but eventually it becomes clear that they are all helping each other to move forward. Occasional commentary from the performers sheds some light on their quest but for this viewer, not quite enough.
Occasionally, you see a show where the performers’ exertions are so obviously extraordinary, complete in this case with grunts and copious amounts of sweat, that you’re left feeling vaguely guilty that you’re just sat looking on. Perhaps this is part of the point in a world of international conflict, a Europe full of displaced people that host nations are increasingly reluctant to house and in a Britain once more going cap in hand to the EU in the hopes of agreeing an acceptable compromise.
Each of these performers have an impressive track record. Welsh Eddie Ladd brings a tough grace and incredible tenacity to the piece. Leading Hong Kong choreographer and artistic director Mui Cheuk-Yin is fearless, hurling herself around the stage. Joseph Lee has also worked extensively in Hong Kong. His athleticism, strength and fluidity is impressive. Imre Vass is based in Hungary and his distinctive physical style is reflected in this work, as his astonishing commitment. And Lee Brummer, one of the masterminds behind this collaboration, brings humanity and a quirky humour to the piece. Bringing this production to Edinburgh, Zoo Southside continue a relatively recent tradition of bringing exceptional international dance to the Fringe.
This is their first show in Edinburgh and a last minute hiccup means they’re missing one of the performers. The production will undoubtedly change shape slightly over the next couple of weeks. Based on this viewing, it would be helpful if the audience were offered more clues to the context – some of which may be lost with the absent performer. They’re all unquestionably talented and their message is an important one. Cheap to end the review by revisiting the show’s title but with greater collaboration, this too may come.