Rambert Review

Gran Partita, by Carl Fox

There was a buzz of anticipation about Rambert Dance Company’s new work, showing at Sadler’s Wells, and the evening didn’t disappoint.

Presenting three contrasting works by reknowned choreographers Merce Cunningham, Karole Armitage and Andre Gingras, Rambert put on a show of technical virtuosity, elegance and humour. The first piece, Cunningham’s Pond Way, was technically brilliant and the dancers dazzled with their beautiful ‘ pond action’ : floating, fish like arms; and graceful dips and dives. But, as is often the case with Cunningham, it didn’t stir emotion or feeling and it was really Brian Eno’s score that helped to engage the audience fully.

Next came the world première of Gran Partita, by American choreographer Karole Armitage.

The choreography was set around four of the original seven movements in Mozart’s composition of the same name. and was a wonderful contrast to the somewhat stagnant energy of Pond Way.

This was dancing that made you smile.

Whilst being elegant, it was also witty and fun. Male and female roles switched, with women lifting men and vice versa. The costumes were simple and worked beautifully, particularly against the backdrop of the light and floating stage and lighting design.

Armitage used a ‘cubist’ strategy to present and echo the movement with the score. A fantastic pas de deux between Lucila Alves and Cameron MacMillan crystallized the piece and the audience loved it. A wonderful piece of choreography that fitted to Mozart’s work like a glove.

While sitting in the second interval, waiting in anticipation for the final piece, by Andre Gingras out of the corner of my eye I spotted someone who looked just like the Queen. In the stalls balcony, she was making slow hand gestures to the half of the audience who weren’t in the bar.

After assuming that the Queen probably hadn’t donned her diamonds for a trip see a physical theatre performance, it became apparent that it was part of the act.

As the lights came up the ‘Queen’ moved to centre stage, to be joined by, at first one and then slowly a gaggle of identical ‘Queens,’ causing a murmurs of laughter and delight in the audience. But Anatomica 3 also had a darker message hidden in the queen’s body language.

Gingras explored how the body is perceived through the public eye and the media.

The movement and energy within Antomica was truly breathtaking. Part of Fabrice Serafino’s design, included a ramp which created a virtual catwalk on which the dancers ran and jumped. Bodies manipulated, interjected and responded to each other. The exploration of body image was caught in glimpses of dancer’s exposing their flesh to the audience. This was highlighted when they worked in a sequence using still images, making interesting shapes with their bodies.

There was as much presence and control within this sequence as there was in the high energy sections. It made me catch my breath and Gigras’ theatrical style was captivating.

This was an evening of theatrical dance and performance which seemed to push the creative boundaries of everyone involved; from dancer to choreographer, to designer to composer and, never forgetting the audience. I would be surprised if most people didn’t leave feeling inspired.

Isobel Diamond

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