Paris Fringe 2026
Low Down
For twelve years, dancer and choreographer Louella May Hogan has been tuning in to her body’s sensations as often as possible. Today, she presents *Gone Fishing*: she immerses herself in the depths of her sensations, reels in the line, assesses what she finds, and embraces the elusive, slippery nature lurking beneath her own surface. What gets hooked belongs to you.
Review
Standing still centre stage for a while Louella May Hogan slowly moves one hand. Then the arms move – flowing yet punctuated with staccato changes of direction and pauses. The flow of the movement is fascinating as is the innovative choreography. Hogan has created an original movement style that may have invisible roots in more than one dance style – but in this piece one might only see a second or two of Popping and a flash of a single balletic jump, or not, depending on our own experience.
Gone Fishing is set to an ethereal abstract musical soundscape that expands and contacts in the space with airy to earthy bass sounds creating an interesting environment. Hogan feels the sensations through her body – and the sounds and expresses them through her movement. At times one glimpses feline movement then small hops and shudders. Is there a story? There is a sense of an internal story as Hogan works on a diagonal and then back across the stage. Hogan creates abstract imagery that the audience may interpret their own meaning or simply watch and enjoy. I saw a performer who was curious tracing a river bank, over, under and seeking and being, with apparent joy, which transfers to the audience.
A low gravity section turns in to a reverie that is fluid and free, yet always in control. A playful section includes almost contortionist movement with limbs folding over each other. Hogan is bendy. Perhaps we see a touch of insect inspired movement here and there? Gentle and bound dynamics demonstrate the exceptional quality to Hogan’s movement. It is explorative – giving way to a later airy section set to jazzy notes evocative of changing environments and atmospheres. Is Hogan playing an animal exploring their first steps of life?
At forty minutes long Hogan is aware of the importance of timing and variety a solo dance piece needs, and just after half way through might benefit from some adjustment in pace. The final imagery is dramatic and unexpected; it’s an innovative way to end the piece. Hogan makes a silent statement through large images that also recall dance motifs and positions performed earlier. Luella May Hogan has created a very interesting dance piece in an original style of dance with imaginative sensory choreography. Don’t miss it!
