My understanding of Dancing Dutch, without closer inspection, was a celebration of dance from four Dutch choreographers, but upon seeing a certain David Dawson and Jiří Kylián in the line up, I realised this was not the case. Four choreographers of mixed origins, it may be so, but who have “roots” in the Netherlands it transpires. No matter for the titular sleight of hand however, because Dancing Dutch is a romp of a programme, powered by Dutch National Ballet’s (DNB) technical excellence and four choreographers, from the up and coming to the internationally renowned.
A particular strength of the programme is how rising stars such as Milena Sidorova so comfortably stand shoulder to shoulder with Kylián and Dawson. The briefest of opening numbers, Tenzij (Unless) is a gem of a piece, high-fashion, athletic and placing its two female leads front and centre. Coryphées Mila Caviglia and Yvonne Slingerland wear modern-style ruffled tutus in contrasting red and blue. Repeated blackouts see them adopt different poses when the lights go up, all fierce, female flair and attitude. Their partners (Guillermo Torrijos and Bela Erlandson) raise them high above their shoulders and help them fly but this is a story of two women in conflict, who elegantly tell a turbulent tale.
Tenzij relies mainly on a classical vocabulary with contemporary flicks of the arms and hands played for comic effect, but it's the spiky, pointe-shoe clad battles that catch the eye. It’s a tense, exciting watch, although it ends abruptly and merits expansion.
Skipping ahead, Dancing Dutch culminates in David Dawson’s Anima Animus, a completely euphoric work, the cast and Ezio Bosso’s emotional Violin Concerto No.1 complementing each other in powerful fashion. Ten dancers commit fully to its cause, there is pure beauty in them all tearing up the stage, arms outstretched, so present in the moment. The dynamism and the lifts are so smooth and spontaneous, they dance for the love of dance.
Dawson has explained how audiences will have different takeaways, some will see only the contrasting light and shade in this plotless work, but there is exploration of the male and female psyche and their energies. This too is reflected in Yumiko Takeshima’s striking black and white costumes. Elisabeth Tonev and Emma Mardegan are crisp and neat, as well as fluid and light, floating across the stage in the many drags and drops with male partners, one moment laying low, the next high above their heads with picture-perfect fluidity. Ballet aesthetics don’t get better than this.
At 27 minutes, it’s the longest component of the programme, without a tangible story it could lose its hold but I didn’t want it to end. The audience was quick to rush to their feet.
Sandwiched between the above are two solid choices. Concertante from Hans van Manen is the only piece DNB have danced before and sits comfortably on the cast of eight who tackle it here. The distinctive stripy catsuits (Keso Decker) and the wriggles of the hips are reminiscent of Elite Syncopations, but Frank Martin’s rousing score (Petite symphonie concertante) sets it apart. Dancers are introduced individually before falling away into two central pas de deux. Nina Tonoli and Edo Wijnen are precise and demure in the more mournful musical sections, while Yuanyuan Zhang and Timothy van Poucke dance with explosive purpose, arms wide and fingers splayed, legs snapping to 180 degrees with effortless panache.
Originally created for Nederlands Dans Theater, Wings of Wax completes the line up. It’s the first time DNB have ever danced a Kylián. The title refers to the myth of Icarus, but this is a piece about ambition, wanting to always reach higher and achieve more. And yes, the dancers, in plain black leotards for sure fly high in the abstract piece. There is striking stage design, a black backdrop on which there is the bright outline of an upside down tree, we see roots, a trunk and bare branches, with dancers running wild beneath it (or should that be above?). It continues the theme of defying gravity that runs through the programme but is the least attention grabbing of the four on offer.
Dancing Dutch shows off a company in great shape, its four components all stripped back stages with nowhere to hide, truly showcasing the technical prowess of DNB, who attack it with rigour and fearlessness. It’s one to soak up and enjoy.
