A Vibrant Fusion of Reggae and Dance Takes Over London
London's Sadler's Wells East is currently pulsating with the infectious rhythms of Toussaint To Move: Free, a production that masterfully blurs the line between performance and participation. Choreographed and soundtracked by the multi-talented Akeim Toussaint Buck, this show is a must-see for reggae aficionados and anyone seeking an hour of uplifting, low-key skanking.
An Immersive Experience That Breaks the Fourth Wall
The production belongs to a unique category of performance that attempts to dissolve the traditional boundary between watching dance and actually dancing. This is a difficult feat to accomplish, but Free makes a compelling effort. It doesn't just give the audience permission to dance without self-consciousness; it actively encourages them to tap into the core emotions the performers are channelling – the defiant joy and hopeful freedom that are hallmarks of reggae culture.
The cast is a splendidly diverse ensemble, featuring five main dancers supported by a group of students and elders. This inclusive setup sends a powerful message that everyone is welcome. They successfully get the audience on their feet, though there are seats available for those who need them. While this community cast creates a fantastic, inclusive vibe, they also form a kind of living curtain between the audience and the principal performers.
The Heartbeat of the Show: Sound and Movement
The soul of Free is its powerful, bass-heavy soundtrack, written and performed by Akeim Toussaint Buck and his band, The Magnificence. The music is a rich blend of dub, reggae, and jazz. The bass is a dominant force, pushed to a near-distortion level that hits you like a fuzzy-edged bullet in the chest. It serves as the show's slow, steady heartbeat – the essential two and four rhythm that carries everything forward.
You feel this rhythm as a physical call and response; your feet step on one beat, and your body catches the next. The dancers beautifully expand on this foundation, with the sonic reverb visibly bouncing through their bodies. They move in sync during laid-back routines and lose themselves in individual worlds, their movements appearing both easy and deeply grounded, as if their souls are being nourished by the sounds.
The overall mood is one of warmth, community, and shared smiles, though it can feel a little samey at times. This consistency is punctuated by a powerful moment of grit when one dancer clutches his hands to his face and chest, using his voice to call for freedom for the world and for Palestine. This topical reference – Sadler's Wells has faced protests over its sponsorship from Barclays due to the bank's links to defence companies supplying Israel – adds a layer of political resonance. The other dancers surround him, and he is soon absorbed back into the collective dance, with the celebratory party atmosphere quickly resuming.
Free is undeniably an enjoyable and uplifting gathering. However, this poignant moment suggests there is potentially a stronger, more complex piece of theatre waiting to fully emerge. The production is running at Sadler's Wells East, London, until 8 November, after which it moves to the Bradford Arts Centre on 21 November.
