Dance review: Ali and Alpo, Summerhall, Edinburgh

The story behind this solo show is almost as poignant as the work itself.

Oud virtuoso Ali Alawad failed in his asylum bid and fled, leaving only film footage for choreographer /dancerAlpo Aaltokoski to use. Picture: Contributed

Ali and Alpo, Summerhall, Edinburgh * * * *

For although Finnish dancer/choreographer Alpo Aaltokoski is alone on stage, this is in fact a two-hander.

Iraqi-born Ali Alawad, a virtuoso on the oud (a kind of Middle Eastern lute), travelled to Finland as an asylum seeker and began collaborating with Aaltokoski. But shortly before this show was due to premiere, the musician was threatened with repatriation and fled Finland.

At the age of 60, most dancers have said goodbye to the stage – but thankfully, Aaltokoski didn’t get the memo and kept on going. His style has the energy and intent of a younger dancer, the emotional maturity of an older performer, and it’s quite the combination.

Acknowledging the absence of his friend – and what Alawad had to leave behind in his homeland – Aaltokoski’s choreography is full of hope, longing and memory. He runs, clutches an invisible partner, holds out imploring hands, grabs manically at his head to pull out bad thoughts.

It would, of course, have been preferable if Alawad had been able to remain in his adopted country, and travel to Edinburgh with Aaltokoski. Yet, although it feels wrong to admit it, his absence makes this piece even stronger, both theatrically and politically.

Until 25 August

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