Johnny the Great is no good guy. No good, good God, but has the greatest smile. And if laughs could kill, your mamma' d yell, Then Johnny's was one hell of a way to go. Using elements from cabaret, film, cartoons and pop culture, Norton composes an 'identikit' portrait of his 'monster', this thing called Johnny Panic. Clues, traces and evidence from nine short sequences are pieced together in the manner of a detective investigation. His remarkable motion vocabulary transgresses effortlessly into blues and rap, whilst always maintaining a brilliant rapport with his audience. "Johnny Panic" is the first full-evening solo by this talented choreographer and dancer, based on a short solo which caused a sensation at the Summer Festival in Holland. Although British, Paul Selwyn Norton has lived in Holland for many years and is best known for his performances with CLOUD CHAMBER and BEPPIE BLANKERT. In "Johnny Panic" Paul Selwyn Norton utilizes and subverts the mechanism of seduction with high velocity choreography and theatrical gimmick. 

In "Nth" he allows the essential movement vocabulary to reveal itself. One of graphic body isolation, debilitation and disintegration. Energy oscillates between restless invocation and reckless abandonment. The choreography is equally dialectic: an overwrought precision in the face of slipshod accident. "Nth" -saturation, collapse, general anatomical confusion.