Sound is an additional layer of form and meaning in any given McGregor work. Neoclassical, ambient and minimalist music feature often; Steve Reich (Dyad 1929), Ólafur Arnalds (Dyad 1909) and Max Richter (Infra) are just some of his collaborators in the sonic space.
Reich’s Pulitzer Prize-winning ‘Double Sextet’ is the perfect soundtrack to Dyad 1929’s frenetic physical energy. Broken into three movements (Fast, Slow, Fast), the piece features two sextets of flute, clarinet, violin, cello, vibraphone and piano.
Deliberately repetitive like much of the composer’s work, the effect paired with dance is beautifully claustrophobic, and manages to move and focus dancers and audiences alike. Legs are kicked and flung with gathering speed and determination in the fast sections; the slower middle is moody with twists, slides, rolls and high singing notes.
McGregor's choreography makes phrases of movement, woven together like poems and punctuated by the carefully chosen music. Mood, limbs and beats work as one to create these distinctive genre bending visions on stage.
So, what are we when experiencing a Wayne McGregor piece? Helpless? Puppets? No, just bodies. And the weight of his work makes it clear that this is Wayne’s world; we’re just living in it.