Possokhov’s Rite of Spring is a mixture of mostly good choices with a few that seem rather odd to me.
The company danced Serenade well but the very simplicity in its choreography, created as it was initially for students, ironically makes it hard to produce a perfect performance…
Shivalingappa first caught my eye at the 2007 Fall For Dance festival, where she danced Varnam, a Kuchipudi solo. I was immediately struck by her musicality, the power and precision of her footwork, and the absolute clarity of her movements. And to the grace of her upper body and a jump that seems to comes out of nowhere, light and airy as a cat’s.
To be honest I don’t think her first announcements are a landmark in repertoire terms – but it was never going to be unless some ballet fairy deposited a few extra million in the company coffers to allow instant change.
Nicolas Le Riche was fabulously predatory in Bolero, a raging furnace of self-love and sex appeal. One imagines that after the show he must have ravaged a hundred virgins, but maybe he simply went home and soaked his feet in the tub, but in any case, he was magnificent, good taste (and choreography) be damned.
Disappointment is an inevitable part of theatre-going – I mean, how often do performances live up to our expectations? – but it is especially hard to swallow when it comes at the hands of one of the artists we most admire….
The crowd erupted in cheers. Ek’s piece hints at another side of Guillem, a goofier, simpler human being beneath the veneer of the icon. If it feels a little coy, well, maybe it is, maybe it isn’t. It’s a smart, well-calibrated program in every sense.