The Scotsman Sessions #22 Eve Mutso 'Spinning Solo'


Reviews for 111:


moving duet is something special  /Donald Hutera 'The Times'/


It's a conversation between two dancers who know exactly the power of their individual bodies, and how to multiply that power by combining them./Lucy Ribchester 'The LIST'/


Reviews for Echo:

Mutso’s cerebral yet highly physical piece fused aerial finesse, powerful emotions and clever, unexpected movement, heralding her arrival as a choreographic force to be reckoned with. /Kelly Apter 'The Scotsman'/ 



Reviews for 

Eve Mutso’s Unknown is arguably the pick of the four routines. Her premiere piece of choreography since leaving Scottish Ballet is both beautiful and ominous.She’s confined in a cuboid structure, which seems symbolic of not wanting to be limited, perhaps. Merlin Bonning ‘s eerie soundscape seems entirely apposite for the sci-fi feel of the routine.She flexes in her space, an alien goddess in evening gown, crouching with spindly hands protecting her face. It is as though she is insulating herself against a hostile environment, but ultimately she breaks free. Here, the structure lights up, as does the statuesque, now upright and high-kicking Mutso. She is, to paraphrase, the woman who fell to earth. /Lorna Irvine 'The Tempohouse'/






Reviews for Ink of Innocence:

Mutso’s Ink of Innocence, to music by Sigur Ros, has a poetry of movement as well as of intention. A white-clad Sophie Laplane becomes immersed in a liquid swirl of ink-black bodies and yet, even as she engages in a striking duet with Daniel Kirspuu (Estonian National Ballet), or gets caught up in metaphoric coils of rope, she retains her own strengths and purity of line. There’s real clarity of ideas here, deftly conveyed through the visual patternings, contrasting costuming and dramatic tensions within the music. /Mary Brennan 'The Herald'/



Reviews for elEven:

With poise, power and great suppleness, we marvel at her control, rising seemingly effortlessly onto pointe. But in the background there is a soundtrack of joints creaking, breathing and heartbeats, showing the effort and strain necessary to achieve the beauty we too often take for granted. At the end of this section, we see signs of worry, perhaps the thought, “How much longer can I do this?” Eventually Mutso slowly removes her pointe shoes and dances with greater freedom incorporating contemporary steps and floor rolls. She is joined by Daniel Kirspuu, perhaps as an alter ego, symbolising her concerns with the uncertainties of this new direction, until she is finally solo again, more confident in her new role.

On the strength of this performance, Mutso has little need for concern about either her performance standards or her ability to command attention through her choreography. /Stewart Sweeney 'Criticaldance'/