Rambert celebrates the company’s 100th anniversary with a superb triple bill at The Lowry, where it runs until 9th July. The programme comprises three pieces, listed, slightly confusingly, in reverse order in the glossy programme, but each is outstanding in its own way.
First up was In Crimson, which premiered at Sadler’s Wells on 10th June. Choreographed by Jene Smith and Or Schraiber, it is a striking work accompanied by live music from a solo pianist and vocalist, performed in front of the curtain but with glimpses behind. The concept is wonderfully original. The dance begins with a single performer before the energy steadily builds until all dancers are on stage, and at times it feels almost feral in its intensity.
Next came Hop(e)storm, choreographed by (LA)HORDE with music by Pierre Avat. We saw this recently at The Lowry, and it remains every bit as exhilarating. The title is a playful pun, as the piece is essentially a 15-minute Lindy Hop workout which morphs into a rave. The energy is infectious, with astonishing falls and lifts throughout, while some moments brought the Tiller Girls of yesteryear to mind. I imagine they spent the interval doing stretches to recover from the exertions.
The shorter second half brought Gallery of Consequence, choreographed and directed by Emma Evelein. This was my favourite piece of the evening. It is a brilliantly inventive depiction of the hellish experience of navigating an airport. Performed against a huge, ever-changing departure board, the dancers’ semi-robotic movements at the start perfectly capture what travellers become in such an environment. Every action has a consequence—though not always the one expected.
It’s a truly outstanding evening, and for a visual preview of what to expect see HERE.
Image by Yiling Zhao.
Paul Schofield for Canal Street Online
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