Guillem/Maliphant 'Solo' reviews Guillem/Maliphant 'Two' reviews Guillem/Maliphant 'Shift' reviews Guillem/Maliphant 'Push' reviews Guillem in reviews Maliphant in reviews recent Sylvie Guillem and Russell Maliphant company reviews more Louise Bennett reviews Discuss this review (Open for at least 6 months)

Maliphant’s choreography is fluid and graceful, and impressive yet without ‘tricks’. It often builds with a crescendo, becoming more and more intense as it progresses. His particular interest in how light can add to and enhance the dancer and choreography manifested itself most profoundly in his solo, ‘Shift’, but was evident and interesting throughout the evening. He uses the body in remarkable ways, and the interlinking nature of ‘Push’ showed his skill at creating movements for two bodies as if they were one.

‘Solo’, for Sylvie Guillem was a wise choice as an opener. Clad in sheer white trousers and top, she strikingly and confidently dances to the beautiful guitar music of Carlos Montoya. The work builds in intensity but is comparatively calm in terms of lighting and music when compared to the other pieces. Guillem is always fascinating to watch, and performed the solo elegantly and expressively. The opening languid movements build up to a fervour with high legs and dramatic prowess.

Maliphant’s solo, ‘Shift’ showed his fascination with lights; he dances, dressed in white, in the foreground, while his multiple shadows move in and out of sight on the backcloth as if independently. The lighting showed his shadow from different angles, at times making it appear as if there were four separate dancers on the stage. The programme told us that the solo was ‘hypnotic’, and the slow, poised, sinuous movements certainly backed this up, while Maliphant also showed great physical strength. ‘Shift’ is 15 minutes long but did not drag on even though it was slow. Maliphant’s bow to his shadows was a nice touch.

‘Two’ showed us Guillem, ‘trapped in a box of light’, dancing powerfully to Andy Cowton’s intense music. Her physical skill and prowess was shown to a effect by the dim lighting and low-backed leotard. Her arms were shown as a blur of light as the solo drove to an end.

The showpiece of the evening, ‘Push’ was the next and last work. It began with Guillem on Maliphant’s shoulders, then winding herself around him in interesting and imaginative ways, while the lighting alternated between dim lights and blackout. This was a strong and graceful duet, and Maliphant’s choreography shows both partnering and unison in ways both creative and beautiful. The duet was extremely physically demanding, and was perfectly suited to the performers.

Maliphant does not attempt to be too ‘controversial’; his choreography is expressive and graceful, and is still a far cry from ballet. The evening showed his skill as both a dancer and choreographer, and his work is entirely suited to Guillem. Hopefully these two wonderful artists will collaborate further in the future.