De Brakke Grond in central Amsterdam is one of the many theatre spaces in the Netherlands which are ideal for modern dance. A large open stage and a comfortable auditorium make the viewing experience double enjoyable, particularly when watching a dance work which is constructed on bold lines. THE FALL is a piece for eighth men choreographed by Truus Bronkhorst and Marien Jongewaard and runs for an hour and a half with no interval. The simple set of three large mirrors on moveable frames at the back, three ballet barres on one side and three benches on the other, utilise the available space imaginatively and allows the performers the freedom to open up the throttle at the appropriate moments. Truus Bronkhorst has a reputation for having a strong sense of "theatre' in her work; and this is borne out in her collaboration with Marien Jongewaard who has his background in theatre rather than dance. In my experience, choreographic collaborations are rarely effective; but once in a while a piece like THE FALL comes along and confounds all expectations and prejudices. Indeed, it would be true to say that the whole event is like being run over by a steamroller festooned with flowers.

Initially a cast of six file onto the stage dressed variously and diversely in black: one in a top hat, one with a mask, some in trousers, others in shorts; and then a seventh, Marc van Loon, in a transparent black lace dress. Taking centre stage he performs a mesmerising solo to a lone violin, which is reflective, innocent and self-absorbed for most of its length; but at the same time occasionally displaying a very knowing quality. This emotional contrast, married to the incongruity of a muscular, near naked man in a dress, sets the tone for much of what follows, for the choreographers play with perceptions of masculinity and femininity in an artful and perceptive manner, although their dramaturgical intentions are more complex than this one theme. The man in the black mask, Jean Louis Barning, goes through a series of motions which suggest an introspective actor rehearsing the gestures for an heroic role; yet again underlining the essential duality of masculinity. An ensemble section follows where slow movements are executed in unison and outstretched arms being dropped becomes a recurring motif.

Bronkhorst and Jongewaard create a dynamic momentum from these early moments in THE FALL and each section builds upon what has gone before. Mood changes, differing forms of movement vocabulary and emotional content are run through with a strong sense of drama and an acute feeling for contrast. Solos, trios and quartets follow each other unpredictably but logically. The young black dancer, Percy Kruythoff has a grieving, rocking solo which features literal breast-beating and obsessive gestures which become repeated faster and faster until it is almost too painful to witness. It was a moving expression of human emotional pain, pathetically devoid of anger, and in complete opposition to the macho posturing and exhilarating passage of showing off which shortly followed; with the cast shouting encouragement to each other and rotating wildly with cans of beer in their hands. As the action grew wilder and more uncontrolled, thrown handstands and backflips broke the rhythmic, almost flamenco, quality of the passage which had music with a middle eastern feel. It looked and felt like a finale but the choreographers still had a few surprises left up their sleeves.
After a pause to drink and change into shorts and t-shirts the action recommenced with two pairs of dancers supporting each other; first just physically, then in a caring, loving manner. The dancers work more on the floor and the leitmotif of falling returns to the movement vocabulary. As five dancers collapse at the barre another two enter with large saws and proceed to saw right through the benches they are standing on. Kruythoff arrives with champagne and suddenly a sense of Spring-like rebirth pervades the action, with rhapsodic spinning and waltzing, laughter and whooping to the strains of Mahler's DAS LIED VON DER ERDE.

Four pas de deux become a dance of death and partners try to rush away, as the other forcibly restrains them. The cast appear with black balloons from behind the mirrors and embark on the final section of the piece which has a calmer mood with extended balances and a slow motion quality.

THE FALL has profound moments which are often followed by sections of near parody or frivolity or tenderness; in fact, a reflection of real life. The choreographers assail the public with a world of movement which is both strangely exclusive and intimate, yet universal. The superb cast, which also included Florens van der Put, Pascal Rekoert, Jakob Nissen, Vitor Garcia and Vladimir Melnikov brought highly individual personal qualities to their performances, as well as sharply differentiated physiques: Nissen is bulky, Garcia small and slight, Melnikov power-packed, yet in a curious expression of the Gestalt theory their combined qualities added up to more than the sum of their individual performances.

THE FALL contains perceptions about the life of a dancer, sexual politics, male sexuality and relationships, violence and self-destructiveness, and appropriately, loss of innocence. THE FALL in Judaeo- Christian terminology refers to the disobedience of Man and his subsequent punishment by being banished from the Garden of Eden. This idea is woven into the dance as a repeated motif, as are other fragments of previous choreographies by Truus Bronkhorst, whose body of created work reflects a continuum of ideas and symbols. THE FALL is a complex and wonderful dance piece and deserves to be seen by the widest possible audience.

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