US PREMIERE
Grand Finale
Nov 9—Nov 11, 2017
 
Dance

Hofesh Shechter Company
Choreography and music by Hofesh Shechter

 

A looming monolith splits in two, then three, then six. Bathed in shadow and golden light, bodies tremor, crumble, and rebound, dressed in the shirts and trousers of another generation. Scenes of war and collective resilience form and dissolve.

UK-based Israeli choreographer Hofesh Shechter and his 10-person troupe return to the Next Wave Festival with a staggering vision of uniquely European implosion: a man-made monument cracking beneath the weight of human violence. Propelled by the driving, cavernous beat of Shechter’s own original score, dancers bend but do not break, while a live string quartet clad in flak jackets scores the end of romance. Featuring powerful scenic design by Tom Scutt, Grand Finale devastatingly captures the brink of cataclysm and the collapse of a mythic society.

 

Set and costume design by Tom Scutt
Lighting design by Tom Visser

Produced by Hofesh Shechter Company and commissioned by Georgia Rosengarten.

Commissioning partners are Sadler's Wells Theatre, Théâtre de la Ville-Paris / La Villette-Paris and Brighton Dome and Festival.

Co-commissioned by Colours International Dance Festival Stuttgart, Les Théâtres de la Ville de Luxembourg, Romaeuropa Festival, Theatre Royal Plymouth and Marche Teatro / Inteatro Festival together with Danse Danse Montréal, HELLERAU-European Center for the Arts Dresden, Dansens Hus Oslo, Athens and Epidaurus Festival, HOME Manchester and Scène Nationale d’Albi.

Grand Finale is generously supported by the International Music and Arts Foundation.

 
 
RUN TIME
1hr 45min
VENUE
TICKET INFO
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Leadership support for dance at BAM provided by:
The Harkness Foundation for Dance
“A mature and magnificent work … sulphurous, visceral and surprisingly tender”
— The Stage (UK)
“A wild waltz for the end of time … Grand Finale ranks among Shechter’s most sophisticated creations.”
— The Guardian (UK)
“The ultimate danse macabre […] Hofesh Shechter’s existential anguish and his often beautiful choreography fight to the death.”
— The Observer (UK)
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