 |
Well I went to New Zealand to see Christopher Hampson's Romeo and Juliet so it seemed the least I could do was visit Edinburgh to see his old class-mate's work - Christopher Wheeldon's programme for San Francisco Ballet (SFB). The Christophers were in the same year at the Royal Ballet School and both won Kenneth MacMillan awards - it even happens that while at school Christopher H played his own piano composition for some Christopher W choreography. The two, in their different ways, have now registered at mainstream levels, though generally in different parts of the world.
Christopher Wheeldon joined the Royal Ballet out of school but went West 10 years ago and joined New York City Ballet. NYCB, and importantly the other American ballet companies, coupled with his tremendous talent, has given him unparalleled opportunity to create lots of dance. The result is that at the age of 30 he has an entire evening of his work presented at one of the most prestigious arts festivals in the world.
The Edinburgh Festival might be prestigious but the Edinburgh Playhouse continues to be a major downer. Cramped access, cramped bars, cramped seats all neatly set-off with lighting seemingly provided by original Swan-Edison 5W bulbs. No air conditioning, you queue long to get in and queue long to get out - a rebuild for one of Scotland's biggest theatres is long overdue I think.
Gonzalo Garcia and Kristin Long in 'Continuum'
Photograph by Weiferd Watts ©
There Where She Loved opened the evening and while new to SFB (it was their premiere) it was originally commissioned by the Royal Ballet for some Linbury Studio performances in 2000. It was much enjoyed then and in this slightly amended version it captivated the Playhouse audience too with its alternating mix of happy and melancholy songs by Chopin and Kurt Weill, illuminating relationships between the sexes. In the very first song we were reminded of why we were there as a woman, carried aloft, leg extended behind her finds it fleetingly grabbed by a passing man - it's so unexpected, so clever choreographically and so clever for the dancers to make it happen.
Yuan Yuan Tan and Damian Smith in 'Continuum'
Photograph by Dan Krauss ©
The meat of the evening was undoubtedly Continuum, created for the company in April 2002 and drawn from the same well as Polyphonia (for New York City Ballet in 2001) and Tryst (for the Royal Ballet in May 2002). That alone should hint at the power for many insiders. The piano and harpsichord of Ligeti is of modern stock, tricky and darkly beautiful - an ideal accompaniment to Wheeldon's invention and stunningly confident choreography. In fact my first note, scrawled in the dark, says 'masterwork'. The choreography is precise, mathematical even as the woman are folded (origami comes to mind), lifted and deposited as if manikins. American training and steely technique, particularly from the magnetic Muriel Maffre and Yan Yan Tan, take your breath away. The stillness and calm of the action merely sharpens all your senses. But despite the mechanics there is still human spirit here and naturally rippling movement spills out at times - of the music but also a strange counterpoint to it.
Christopher Wheeldon's 'Rush'
Photograph by Douglas Robertson
©
Rush was the new piece, especially commissioned for the Edinburgh performances and for me something of a let down after Continuum. The music, Martinu's Sinfonietta "La Jolla", is celebratory and the movement all joyful action for the 16 dancers involved. There is Wheeldon invention here but to me it seemed less consequential than the others. However this piece pleased very many in the audience who exited beaming, having seen the most balletic dancing piece of the evening. I suspect seeing Rush again would probably be helpful to me because Continuum so struck me dumb and for that I volunteer nothing but praise for SFB's visit this year. More please.
|
