V I S C E R A
Choreography Liam Scarlett | Music Lowell Liebermann | Costume design Liam Scarlett
SCHUBERT PAS DE DEUX
Choreography Adam Lüders | Music Franz Schubert
STRANGERS
Choreography Sebastian Kloborg | Music The Purcell Quartet, Sarband, The Caretaker m.fl. | Costume design Sebastian Kloborg
K R A S H
Choreography Alessandro Sousa Pereira | Lyrics Niels Frank | Music Turkman Souljah | Costume design Karl-Oskar Olsen, Wood Wood
Royal Danish Ballet
Maj 16 2015
The Drama House
When Nikolaj Hübbe presented next season’s repertoire a few weeks ago, he argued that the Royal Danish Ballet now could take on more modern works, because the classical base in the company was now secure enough for the company to also handle more experimental works.
However the modern combo “Take Four” presented last night clearly demonstrated that what is needed for the company to open up for more modern work is as clear a strategy for what modern dance should be in the company context as the clear goals, Nikolaj Hübbe has defined for the classical practice.
Instead, the evening’s program became a showcase for the bewilderment and had several shared point with last time RDB tried to go modern with a four pack of modern choreography in the drama house. The program then as now consisted of a tested international success by a British choreographer (then “Chroma” by Wayne McGregor, now “Viscera” by Liam Scarlett) and three works choreographed on the company. As then, the imported ready-to-wear work saved the evening.
I think there is significance at play. First, it shows what we already know that RDB is a strong – and maybe the strongest – interpreting company. The track record with works not choreographed for the company is impressive, whereas the harvest of works choreographed on the company is meagre. However the conclusion can as well be that in order to make good choreography the choreographer needs to be a part of daily company life and in addition have the necessary resources of time and people to develop more than one shot.
Liam Scarlett and Wayne McGregor have both been assigned to Royal Ballet as in-house choreographers, and as Liam Scarlett explained at the workshop presentation of this program, the position as in house choreographer have not only to follow their own ideas but also choreograph for the company needs. And that include doing full evening ballet for a broader audience. New York City Ballet has also gained quality works from a similar schedule and the RDB and NYCB alumnies from the programs has developed into excellent choreographers, including Christopher Wheeldon and Alexei Ratmansky.
Nikolaj Hübbe should consider the in house choreographer as a viable alternative to the current practice of one shots and the Corpus set up. The fact that two RDB dancers, Gregory Dean and Oliver Marcus Starpov recently presented good choreography for the divertissements in “Swan Lake”, shows that there are in-house candidates available.
A touch of…
“Viscera” shows Liam Scarlett as a choreographer who can move an ensemble around in high tempo and in high ekvilibrism. He can also deliver an intense dramatic pas de deux. “Viscera” have more a feel of Balanchine than of the British heritage. That may be explained by the fact that it was made on Miami City Ballet, a company with a strong Balanchine link.
“Viscera” is a piece of good choreography given the dancers something to work with and is a valid long-term investment for the company. Ulrik Birkkjær and Alexandra Lo Sardo made a strong impact in the pas de deux. J’aime Crandall took on the busy bee second ballerina with style and aplomb. A much more natural field for her than the romantic /lyrical ballerina she so often has to defend.
Dancing as One
To have a ballet choreographed on you is a wish for most dancers and in “Schubert pas de deux”, Adam Lüders make the wish come true for Holly Jean Dorger and Jonathan Chmelensky. At the workshop, he also made the audience know how highly he valued the two dancers. Nevertheless the gift proved to be not exactly the blessing promised.
Adam Lüders wanted to use the work to focus on the partnering aspect of a pas de deux, but he is focusing to such a high degree that the dancers are kept so close that they came over more as a pair of Siamese twins than as a ballerina and partner. With no separation, the freedom was gone. Too much infight - too little flow.
In the context of a modern program and with a very conservative styling, the Pas de Deux looked out of place in spite of the dancers’ commitment and skills.
Going Noir
Sebastian Kloborg came to the rescue when the planned choreographer, Dimo Kirilov Milev, had to pull out from the rehearsals due to sickness. He explained at the workshop that he to a certain degree tried to build on what had already been reached. He also kept the casts, chosen by Dimo Kirilov Milev.
Seeing the result "Strangers", I am not quite sure that was the best strategy. Castingwise it looks like he either has a man too many or a girl too few.
Practically the same cast dances the major roles as in “Viscera”. Alexandra Lo Sardo and J’aime Crandall as the two leading Ladies. Ulrik Birkkjær/Gregory Dean as leading man/mens and Liam Redhead and Alexander Bozinoff on pas de trois duty in both work. The color scheme for the two ballets are also quite alike. It makes it harder for the ballet to really sell itself as an original work, and not as a darker episode two.
Kloborg is creating a cinema noir Freudian tale of a defunct relationship, where Alexandra Lo Sardo’s character cannot reach her more than stoic partner, Benjamin Buza who is in a totally non-moving role. J’aime Crandall appears as an inner version of Lo Sardo, where Gregory Dean and Ulrik Birkkjær are presented as two sides of Buza’s persona. The styling is mid-war central Europe. The supporting cast are wearing period underwear. Four girls take on the part of the train for the ballerina’s dress. It results in is lot of atmosphere but very little real dance content.
Going Street
The fourth choreographer Alessandro Sousa Pereira is a dancer at Danish Dance Theatre and is known for his pas de deux that helped Ida Praetorius and Andreas Kaas to win The Erik Bruhn Prize in 2012. He has also choreographed several works for DDT.
For “KRASH” he asked Danish poet Niels Frank to provide an inspirational text and original music by Turkman Souljah. Pereira designed the scenography himself and costumes are by Karl Oscar-Olson, the designer by Danish top brand Wood-Wood. With a cast consisting of the young leading lions of RDB, Alban Lendorf, Jon-Axel Fransson, Sebastian Haynes and Andreas Kaas and with Ida Praetorius of one of the boys the scene is set for edgy, smart and unified choreography.
Even though Alban Lendorf had to pull out, Tobias Praetorius filled his place with gusto, strength and personality.
The work comes across as smart, effective street dancing presenting energy and attitude. It click many boxes, by the unity of the score, the strong design and concept. Pereira know how to keep to his game plan. But it really impressed more as a number than as a work of art.
Dazed and Confused
The evening presented fine dancing, good intentions, but one left unfullfilt because in the end there was very little substance. The only way Royal Danish Ballet can be a strong provider of contemporary work is if the company management can form as precise and quality-oriented strategy for the contemporary choreography as it can for the classical. Otherwise, the vacuum, this program once more confirms at the company status on the subject will continue.
For more information and Videos click: http://kglteater.dk/whats-on/performances/saeson-2014-2015/ballet/take-four
Photos by Henrik Stenberg (Copyright (c) Royal Danish Ballet)
1. J'aime Crandall & Gregory Dean in "Viscera"
2. Alexandra Lo Sardo & Ulrik Birkkjær in "Viscera"
3. Holly Jean Dorger & Jonathan Chmelensky in "Schubert Pas de Deux"
4. Alexandra Lo Sardo (left) & Ulrik Birkkjær in "Strangers"
5. Ensemble in "KRASH"
6. Tobias Praetorius in "KRASH"
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