The Good, the Bad and You

  • Date: October 2010
  • Location: Baltoppen

The title The Good, the Bad and You refers to the dilemmas that often arise in the meeting with another human being, a new challenge or another culture. The performances offers an insight into the reality of Russian youths in which tough reality, hardship and struggle mingles with fearlessness, hope and an irrepressible will to meet life head on.

The Danish audience can look forward to experiencing Pantera at Baltoppen the 24th and 25th of October 2011.


Choreography: Lotte Sigh
Music: Tune Madsen
Visual Design: Lars Egegaard Sørensen
Costumes: Maria Wolf
Performers: Pantera Chamber Ballet
Choreographic assistant and solo dancer: Phillip Benjamin Jenkins
Choreographic assistant: Julia Giertz
Rehearsal director and translator: Dinara Fathakova
Production: Pantera Chamber Ballet, Eupean EUNIC / Intradance & Copenhagen Dance Arts

Performed in Russia at the Petr Fomenko theatre, Moscow, May 2010 & Unix theatre, Kazan, May 2010.
The performance is funded by EU and the Cultural Ministry of Tatarstan.


Review of “The Good, the Bad and You” by Christian Albrechtsen, Terpsichore, May 2010
“The Good, The Bad and You” is a performance that dares to seek and to insist upon the meeting as the most important. The meeting in its most literal sense as a meeting between opposing traditions and cultures. In this case between the choreographer and the Russian dance company, but also the concept of meeting in a more abstract form.

Lotte Sigh’s choreography was extremely physical and overwhelming, like those moments in which the existential search amalgamates with those boundaries that keep us all in place – history, culture, background etc.
On stage in Petr Fomenko Theatre the dancers moved in and out of various relations. They stood on their heads, breakdance style, were thrown around like dolls and one couple’s duet was quickly followed suit by another couple. The perspectives were twisted and turned in all directions, also quite literally. At one point two of the dancers were filmed from above while they lay on the stage floor in varying positions. This was projected onto a screen, so the dancers were seen simultaneously moving on the floor and on the screen, where they appeared to be climbing upwards.

The choreography somehow resembled a fireworks, in one big explosion of physical energy. One rocket after another was launched across the stage as the many coloured lights illuminated the dancers’ bodies from different angles. It was a breathtaking journey as each tableau took root in the body allowing the performance to manifest itself physically amongst the audience.”

Review of “The Good, the Bad and You”, by Ksenia Sheetova, Dance Russia, The 25th May 2010″Gradually the dancers involve you in their world, share their emotions through the motion of their bodies, so you wish to look closely at the image they create.”

“There is a strange feeling of unity in the piece, happening in a burst of inspiration. One of the original ideas of the piece is the usage of a screen, which lets you see the dancers from above and from the side simultaneously and observe them creating the images. You can even hear their breath, feel their inner excitement and emotions, compressed and given to the audience step by step, sip by sip.”

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