From body-popping to breakdancing, they do it all. Jo Caruana reviews the German-based Notik Dance Company in their new show, Without Strings.

Valletta had a real buzz about it on the night that I watched the Notik Dance Company make their local debut.

Walking through the streets it was wonderful to see the capital teeming with life. Republic Street was awash with festa colour as people wandered between restaurants and bars, while, on South Street, a live music performance had drawn quite a crowd. It was the kind of atmosphere that, just a few years back, would have seemed completely unheard of. Someone is doing something right.

But on to Teatru Pjazza Rjal, which is fast becoming my favourite venue for music and dance shows. On this occasion it was the setting for a show by German dance troupe Notik.

The theatre, under the guidance of board member and dance specialist Brigitte Gauci Borda, had chosen to invite the group over for a two-day showcase of their work, along with a three-day workshop for Maltese dance students and enthusiasts.

Renowned internationally, Notik excels at combining various hip-hop styles into one very enjoyable genre. They incorporate psychical theatre, breakdance, locking, popping, vogue and more to craft the kind of in-synch performance that has been made popular by TV programmes such as Britain’s Got Talent (which was actually won by a street dance group in 2009).

Notik certainly rank among some of the best street dance groups that I’ve seen and their show was extremely very engaging.

This latest offering, the 50-minute long Without Strings, has a strong, post-apocalyptic feel to it from the start.

Throughout, there’s a robotic sense to the movements, with the performers desperately trying to break free of the strings that bind them to the mundanity of their daily lives. The opening is one of the most visually-stimulating parts of the performance.

The eight dancers are dotted on stage among fashion mannequins and the dim lighting makes it difficult to tell who is real and who is not.

The opening is one of the most visually-stiumulating parts of the performance

The main character, played by German Christoph Raap, moves all of the bodies around the stage, cryptically concealing the dancers from the dolls – until a music crescendo kick-starts the piece in earnest.

From there on, it is one fast-paced dance after another, in-corporating various special techniques. It is evident that each member brings something individual to the table.

Brazilian Dioleno Ribeiro was the clear, breakdancing aficionado of the group, while Marcelo Moraes, who is also one of the choreographers, wowed with his solo body-popping routine and delightful classic undertones.

For me, though, it was Angelika Berg who was the most watchable on the night. Her gymnastics training is unmistakable in her incredible flexibility and ability to hold herself beautifully, while her ribbon routine – though a little out of place – was a visual highlight.

This all led to the group’s chair dance climax, in which the whole troupe shone for their undeniable talent and highly-rehearsed synchronicity.

I did feel a little sorry for Michael Nagel’s character, who sat stock still for the majority of the performance, only coming ‘alive’ at the very end.

He juxtaposed the others in his smart blazer and jeans, and served as the puppet master who was slowly losing control of his toys.

I expected a break-out solo from him at some stage, but it never came. Maybe next time.

Speaking of next time, it would be nice for future Notik endeavours, as well as other shows at Pjazza Teatru Rjal, to be better attended.

Where were the many V-18 personnel who should be eagerly embracing every opportunity to experience what foreign companies have to teach us? Where were Malta’s myriad dance students, many of whom could potentially benefit from getting to know professional performers of this kind? Not watching, that’s for sure.

Yes, personally, the only disappointment on the night was the lack of audience members.

It is a shame, as so many other people would have enjoyed this show. Here’s hoping that the capital’s boosted attendance will extend to the myriad of top-class cultural highlights now prolific within its newly-restored walls.