Alston Reviews Alston Interviews Interview: Emma Gladstone

The Company has strong dancers who are now very familiar with Alston's work and it shows. The opening piece, 'Movements from Petrushka', uses parts of the arrangement for solo piano to tell the story of an isolated individual, drawing parallels in the programme notes with Nijinski's own isolation after his break-down. The quick, puppet-like foot and arm movements use the music well and this musicality is one of Alston's hallmarks. It's intriguing to have the piano centre-stage, but sometimes I felt that the dancers were in a claustrophobic space to one side and I have to say that Richard Casey's playing of the Dance Russe, which is one of my favourite tunes, didn't convince me. However, Christopher Tudor certainly impresses as the outsider.

'Slow Airs Almost All Of Them' gives the dancers the luxury of the full stage to perform a series of gorgeous, graceful, inventive duets. In this mode, Alston provides a perfect introduction to contemporary dance for ballet lovers, as the mood of the piece is closer to Ashton than to Forsythe or Page. The final work, 'Waltzes in Disorder' continues in this style to the 'Liebeslieder Walzer' songs by Brahms. Alston was given the chance to have four singers through the generosity of a Dance Umbrella commission to celebrate his 50th birthday. Martin Lawrence, Christopher Tudor and the other dancers make the most of the slow and sometimes quick rhythms that the songs offer. These small ensemble pieces are very close to Alston's heart and the interactions between the dancers and the relationships that are established in 'Walzer' are fascinating and beautiful. Jason Piper created a strong impression with his precise and assured movements.

The Richard Alston Company continues at the QEH until Saturday and their touring schedule is given in Listings.