© ndt 'Shoot the Moon' reviews 'Renature' reviews 'Tar and Feathers' reviews Zeromski in reviews Esseboom in reviews recent Nederlands Dans Theater reviews more Natasha Rogai reviews Discuss this review (Open for at least 6 months) A version of this review previously appeared in the South China Morning Post.

The programme opened strongly with Shoot the Moon by the company’s resident choreographer – or rather choreographers, the two-person team of Paul Lightfoot and Sol León. Drawing on the expressionist language of silent films, this showed five characters moving through different rooms (cleverly presented by a revolving set) alone or in changing relationships to each other. Atmospheric and original, the piece worked well as both theatre and dance, with effective use of video as the dancers are seen through a window from one angle on stage, while being projected on a big screen above from another angle. The choreography was fluid and inventive, with lifts of striking originality and difficulty in the opening duet. The dancing was superb, especially from Stefan Zeromski and Shirley Esseboom. Set to the swiftly flowing second movement of Philip Glass’s Tirol Concerto, the work was an interesting contrast to Stephen Mills’ equally intense but more abstract treatment of the same music in Hush, performed by Hong Kong Ballet in 2006.

Wayne McGregor has a reputation as one of Europe’s most creative choreographers and the idea of his Renature (of which this was the Asia première) was to break down, “denature” normal dance language. Curiously, the piece was in many ways the least inventive of the evening. Although the denatured movements were difficult and at times grotesque they did not break new ground, and the expected “renaturing” where a new, or more coherent language would develop, failed to materialise. McGregor has undeniable talent and there were moments which suggested a much better piece would have emerged had he responded more freely to Karen Tanaka’s excellent music rather than chaining himself to a concept.

The closing piece, Tar and Feathers, by NDT’s former artistic director and signature choreographer Jirí Kylián, made a striking start with some stunning, highly imaginative double-work (women lifting men, or one man lifting two women) and a brilliant use of simple hand movements. However, after a while monotony crept in and things went downhill with the abrupt introduction of some heavy-handed humour. (A group of dancers dressed like kewpie dolls with bubble-wrap skirts suddenly appear and start acting out in comic gestures a Samuel Beckett poem recited on the soundtrack by Kylián. For all I know, this may have had audiences elsewhere rolling in the aisles, but it failed to raise a titter in Hong Kong. I don’t like to use cheap labels, but it was difficult not to think “Eurotrash” at this point.) Presumably this was intended as a piquant contrast to the tormented, impassioned solo being performed at the same time (outstandingly danced by Lydia Bustinduy), but in the event it merely detracted from it. Kudos to the intrepid pianist, Tomoko Mukaiyama, for playing so well while perched on a piano stool metres above the stage.

A version of this review previously appeared in the South China Morning Post.