“I don’t see boundaries”: Director Marco Gerris on Elements of Freestyle at Sadler’s Wells

Marco Gerris is best known for his role as a judge on So You Think You Can Dance, but in his upcoming show Elements of Freestyle, he showcases the impressive breadth of his creativity and expertise. The performance from Netherlands’ ISH Dance Collective merges breakdance, inline skating, skateboarding, freestyle basketball, BMX and free-running in an explosive fusion that is set to be hugely entertaining.

The Upcoming caught up with Gerris to find out how he went about creating this ambitious project, and what his thoughts are on the infinite possibilities that movement and dance afford.

How did you first conceive the idea of Elements of Freestyle?

The idea was always there. Inline skating is my passion, and BMX, breaking and all the other street skills have always been an inspiration for me. But after working for a couple of years with more classical theatre forms like ballet, opera and classical music, I felt it was time to go back to my roots (street-art, hip hop and skills) and create a show with these disciplines. I wondered if I learned something different and if I still had that passion for extreme sports. This show features raw beats as live music and classical instruments like a violin and a cello, but sometimes they also sound very “extreme”!

What attracted you most about devising a multi-disciplinary experience?

The whole package! And besides that, the lifestyle and mindset of the people in all the skills are very similar: same drive, same passion, same humour. If you have a group of very skilled and talented people, there are no boundaries.

Would you say there is a tendency to be conservative in the world of dance, in the sense that there are purists who like to keep styles and disciplines separate? If so, did you encounter any criticism because of this?

I meet a lot of purists in my life, most of them are afraid that we “abuse” their skills and lifestyle. I’m not afraid of that, because I show them that theatre can fit perfectly with their vision and philosophy. It’s all about knowledge and respect toward the scene. It helps that I’m an inline skater and understand the lifestyle. Most of my performers at the beginning of the process are sceptical – after a couple of hours they see and feel it was all an illusion! If you can work with an open mind you can break barriers and it will also inspire and help you reach another level. My philosophy is building bridges, bringing different cultures and worlds together.

How did you select your performers? What particular qualities do you look for?

Most of them I know from “the scene”. I visit a lot of battles and contests, some of them are friends, I always look at the total package. I look if they master their skills (technique) and if they have something “theatrical”: presence, charisma, something that forces me to look at them. But you don’t need to be a showman, an introverted person can be very interesting to watch if he/she masters his/her skills.

What fascinates you most about movement and what the body can do?

I’m still surprised by the speed of development of the movements. The creativity and level of these people are insane. For example, what we used to play with Tony Hawk on the first Playstation – you see that in real life now. That’s crazy and that is similar for most of these street skills.

To what extent do you consider breaking boundaries to be an important part of the creative process?

I don’t see boundaries. The only problem could be the ego or being bad in picking up choreography.

There is a huge social aspect to free-styling, regardless of the discipline. How does this inform the performance and manifest on stage?

If you understand that part, it’s also a blessing to work with the “freestyle” movements. It’s possible to implement that in our choreography. The art is finding the balance between freestyle and the theatre structure.

You say that there is a poetic side to extreme sports. What makes you say this? Which aspect do you find most bewitching?

I like the tricks because they worked very hard for that. I don’t see a difference between a ballet dancer doing six pirouettes or a breaker doing head spins. Both put a lot of effort into mastering these skills! But besides that it’s the energy, the drive they have to land that specific trick. If not, they go crazy. The “fly” part is magic and scary at the same time.

Are there any themes or concepts that you would like to explore further in future? Do you have any other projects in the pipeline?

So many. At this moment I’m preparing a big show with breaking, freestyle football and street football. I’m focusing on the “footwork” and again drawing on the similarities. I see a lot of dance with and without the ball. And next season, I’m going to create a show with the National Ballet (Amsterdam) based on the book Dorian Gray. It’s already our third show together (after Narnia in 2015 and Grimm in 2018) where hip hop dancers share the stage with ballet dancers.

What would you like to see more of in the world of dance?

Crazy combinations, meetings from different worlds – but in a way that already happens sometimes. Also, more theatrical acts?

Why should people go to see Elements of Freestyle?

You will see superhumans on stage, but also the joy they share. If you are an extreme sportsperson you would love the show because of the quality of the performers (there will be world champions of different disciplines). For everyone else: you would be blown away! You would come out of the theatre full of energy and totally hyped by the performers and the performance. It’s as sophisticated and aesthetic as it is raw – aka ISH!

Mersa Auda
Photo: Alex Brenner

Elements of Freestyle is at Sadler’s Wells from 13^th April until 23^rd April 2022. For further information or to book visit the theatre’s website here.