Grand Finale sounds like an apotheosis. In reality it’s a compilation, some enlivened Shechterian abstract. The Israeli choreographer gathered all of his distinguishing features including his very Rabbi Jacob-esque moves in this testament. War and violence, both recurring themes since Political Mother in 2010 are explicitly referred to through images of terrorism. There are very few moments without bodies dropping or corpses being dragged. In case one had forgotten what the world looks like in this early XXIth century, Grand Finale is a heavy reminder.

Hofesh Shechter, Grand Finale, illustration by Araso
Hofesh Shechter, Grand Finale, illustration by Araso

One can argue that Hofesh Shechter doesn’t renew himself much. But is it necessary? Upon seeing these bodies convulsing over highly saturated basses, this oven-sky night club, these dancers over performing a physical exuberance, one  is tempted to think they could die after spending just one night dancing like that.

Over the thick black walls ready-to-print gravestones, beyond the live orchestra hopping on stage in a hotchpotch of sounds of the world: there they are. Precious moments of wild, tribal and uncompromising dance.  


Hofesh Shechter, Grand Finale, world premiere in La Villette with the Théâtre de la Ville until June 24th 2017 

Illustration © Araso