Review by Carla Rudgyard
Four contemporary choreographers are gracing the stage of the Royal Opera House this autumn. Each a bold exploration of movement, the pieces (which are individually about 25 minutes in length) are performed by the talented ensemble of the Royal Ballet and accompanied by unique pieces of music, or in some cases, dialogue. This quadruple bill is a masterclass in the moving body’s potential for storytelling, and is not to be missed by admirers of classical/modern dance and theatre alike.
Starting strong, Kyle Abraham’s clear, effortlessly modern and thought-provoking choreography combines elements of ballet, hip-hop and everyday movement to portray love, loss and memory. Appropriately named; ‘The Weathering’ felt like watching clouds part in a late evening sky. The reverberating clusters of dancers clad in light pink, green and baby blue against the warm yellow lights (Dan Scully) created a serene and emotionally evocative piece. The dancers moved like flocks of migrating birds, complemented by slow and ethereal music (Ryan Lott) with great swells of light and hopeful strings. Later, as the tone (and the lights) darken, paper lanterns are suspended at varying lengths from above. A beautifully executed solo by Joshua Junker under what looked like a twinkling night sky was particularly memorable.
In contrast, ‘Or Forevermore’ by Pam Tanowitz, had a unique, jazzy, musical theatre-esque sound (Ted Hearne) which gave her segment an urban and nostalgic New York rehearsal room energy. At times, I had no idea what was going on, but the energy was certainly entertaining and engagingly whimsical. The movements were both graceful and witty – as dancers tossed between stiff balletic postures and unique contemporary slides. Anna Rose O’Sullivan stood out against the sea of taffy-coloured costumes (Harriet Jung & Reid Bartelme) with her playful work in a velour red tracksuit.
Choreographed by Joseph Toonga, ‘Dusk’ is described as a ‘hip-hop dance soliloquy’ focusing on connections. A glowing square is suspended from above while dancers move with great fluidity, their sheer gauze trousers (Jessica Xavier) reflecting like the surface of water. At one point they link hands and create a rippling wave across their bodies, then their movement changes to something more like popping and locking against the epic and at times sombre music (Marina Moore). It felt as though there was definitely an ambitious story being told with this one, but for me, the plot was lost.
Finally, ‘The Statement’ by Crystal Pite is performed to a brilliantly intense and paranoia-filled script by Jonathon Young which is rich with scapegoating corporate jargon. Amidst high-stake boardroom politics, the dancers move in a staccato style, responding to the inflection of every gripping word spoken with their bodies like some sort of exorcist lip-synch fusion. It’s jarring, captivating and intense- but you simply can’t look away from Pite’s engrossing creation. It is certainly a compelling reflection of the times we live in.
Balanced atop the golden talent that is the Royal Ballet, each of these unique, stand-out pieces (two of which are world premieres) are jewels in a contemporary crown. Filled with variety, skill and vision, this is a remarkable curation of modern dance.
Rating: ★★★★☆ (Very good)
Encounters: Four Contemporary Ballets is at the Royal Opera House, London, until 16 November
