“The Hübbery”
Liam Scarlett:
“Viscera” – pas de deux
Gregory Dean:
“L’Homme”
Oliver Starpov:
“Beginning and Ending”
Sol León & Paul Lightfoot:
“Short Time Together”
Gregory Dean:
“On the Feeling of Light”
Royal Danish Ballet
The Old Stage
October 31, 2015
Tim Rushton:
“Love Songs”
Danish Dance Theatre
Baltoppen Live
October 29, 2015
As the three last programs from Royal Danish Ballet have amassed almost more critical response than what Nikolaj Hübbe has received in his 7, 5 years as Artistic Direytor, he had really put the boat out for the first of his live dance/talk show “The Hübbery”s. Guests included national icons like singer Lis Sørensen and author Peter Høeg. However, the real stars of the evening was two budding in-house choreographers Gregory Dean and Oliver Starpov.
Two days earlier choreographer Tim Rushton, once a budding in-house choreographer at RDB, showcased his greatest hit “Love Songs” with Danish Dance Theatre, the modern ensemble, he had lead for almost a decade.
These events and the quality of the works presented, fuels the discussion of whether RDB might not be better of developing its own choreographers , rather than leaving the pitch to an array of guesting modern choreographers, more bend on their own agenda than was suits the needs of RDB.
It is easy to say that Nikolaj Hübbe has made his own mess by planning a May – December program consisting of three evenings focused on modern and new created works. He had also included two ballets, produced by the in-house company Corpus, led by Esther Lee Wilkinson and Tim Matiakis. Unfortunately, the Corpus appointed choreographers have failed the task fatally.
Incidentally – or not that incidentally – In the last few days, Corpus has announced new installments of their two success formats. There will be a new ballet, created together with Dramatist Christian Lollike, who co-created “I Føling” about wounded Danish war veterans. This time the cooperation will focus on the refuge issue. Another production in the A-Sal, Corpus Unika is also on the way starring a strong team, senior ballerinas Susanne Grinder and Amy Watson, Marcin Kupinski, Alexandra Lo Sardo and Tobias Praetorius, working with poet Neill Cardinal Furtado.
The “Hübbery” experienced a Nikolaj Hübbe, better prepared than usual, a tighter and more coherent program and launching the two young choreographers with lots of praise. He also praised Sebastian Kloborg, who’s choreography was not part of this program, for his talent and contributions.
The “Deanery”
As Gregory Dean danced two leading roles in the program (the Pas de Deux from “Vishera” and his own solo “Homme”) as well as attributing two pieces of choreography, he became the main man of the evening. He also did his interview in faultless Danish. Incidentally, Dean was also featured in an article in Dancing Times on the relevant question: “Why do British Dancers go Abroad?”.
As a choreographer Dean are firmly based in the classical vocabulary, which shows to be a platform he can bend and explore in a current context. His solo “Homme” to Debussy shares traits with “Afternoon of a Faun” and “Apollon Musagetes”, but there is nothing dated about it. His other work “On the Feeling of Light” for eight women shows how well he can move an ensemble. There were stand out moments for Amy Watson, Susanne Grinder and Hilary Guswiler. Incidentally - or not - most of the casts consisted of dancers whom Dean also have partnered frequently.
Oliver’s Twist
Oliver Starpov have just started his second year as a dancer. However, his gift as a choreographer was identified seven years ago when he took part in the Kompany B, the children own ensemble, led by Ann Crosset.
“I realized that I got more enjoyment by creating for Sebastian (Haynes) than for creating for myself”, Starpov admitted.
Like Dean, he got his big break by choreographing the divertissements in “Swan Lake”. Especially his Russian dance for one ballerina and seven men proved his skills and originality. Where Dean is clearly classically based, Starpov has a more modern edge.
His contribution to this evening “Beginning and Ending” is created for an nine men cast with Andreas Kaas as the protagonist. It is edgy and elegant at the same time, combining the physical strength and flexibility of classical trained dancers. Like Dean, he can really move dancers on the stage. My only complaint is that it is much to short.
Hübbe’s Dilemma
Gregory Dean and Oliver Starpov (and Sebastian Kloborg) have proven that they would be candidates for a in-house choreographer program. The big question is whether the RDB has the resources to run such a program and continue Corpus as well.
Considering the resources, which is up for another cut, it is likely that some activities has to go. The RDB has earlier coproduced two strong choreographers from within the company, Alexei Ratmansky and Tim Rushton. Both are active on a national and international scene. Looking at the rather meagre results from bringing in choreographers from outside, developing in-house talents like Dean and Starpov could be a more furtive road to explore.
It is Nikolaj Hübbe’s call to make. It was his own decision to bring in more focus on new choreography. It will always be a somewhat risky strategy, although it is necessary to get new creations at one point. There was one or two of the recent works, which should not have reached the performance stage. I do not know the contracts used at RDB, whether there was a possible to change the programs.
What is clearly needed is a more ambitious and knowledge based approach to modern works. It is not enough to say that the dancers needs to try being part of a choreographic process. An in-house choreographer could be a good option, but that option will also demand a clear strategy on how the company wants to develop.
Revisiting a Hit
Regarding Tim Rushton, his company Danish Dance Theatre is current touring Denmark and Germany with “Love Song” Rushton’s probably most popular work. The Danish Jazz diva Caroline Henderson, who used to interact with the dancers during performance, is reduced to suppling the soundtrack. That move reduced the originality of the work. Rushton has instead tried to build a comical character for one of the dancers. The result is more annoying than amusing. Nevertheless, the ballet is still worth the visit.
Photos:
1. Gregory Dean & J'aime Crandall in Liam Scarlett's "Viscera" by Henrik Stenberg (Copyright (c) RDB)
2. Danish Dance Theatre in "Lovesong" by Bjarke Ørsted (Copyright(c) Danish Dance Theatre)
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