Enclosure 44

This is difficult one. On the one hand, it is exciting to see dance pulled clear of the studio and theatre, thrust into new spaces and engaging with a surprised public. On the other, there is a sense that Enclosure 44 is something of an in-joke: certainly, the best entertainment comes from Angus Balbernie’s commentary.

The project, which takes place at Edinburgh Zoo (the place with real animals, not the Fringe venue of the same name), received a great deal of media coverage, which is great for dance. It also draws parallels between human and primate behaviour, makes a comment on the nature of the zoo environment and offers a possible insight into the processes that lie behind choreography: the dancers look as if they are working on a future piece. However, some of the conceits, such as the dancers acting like apes, or staring at the visitors, are pretty dull and predictable.

Ultimately, seen in the early stages, Enclosure 44 looks like a prank. One that requires endurance and bravery, perhaps, as the dancers are out in all weathers for long periods, but the humour certainly overshadowed the seriousness. Being a durational piece, it is not especially easy to review - the evolution of the work is hidden from everyone except the participants, and the most interesting conclusions would be drawn by the performers, not the viewers.

Janis Claxton is a rising Scottish star, and her previous work has been noted for its vulnerability and charm. This is not very emotionally risky, even if there are physical risks in the enclosure beneath the wet weather. An experiment that will yield uncertain results, it has conceptual potential but seems to be aiming for comedy rather than vigorous explorations.