James Pett and Travis Clausen-Knight’s IMAGO was given its London premiere at the Lanterns Studio Theatre, the first of Ballet Nights ‘Spotlight’. They have performed as part of Ballet Nights evenings prior to this, so their work is now familiar on the London stage but this was a big push by Jamiel Devernay-Laurence, Ballet Nights’ founding director. Indeed they are doing so well, that they have been nominated for a Best Independent Company National Dance Award, which is no mean feat.
I confess that I had to look up the meaning of the word “imago” in the dictionary, which threw up two different meanings: an idealised image of another person which is carried in the subconscious, and an adult, sexually mature insect produced after metamorphosis. I assume it was the former that this 12-chapter exploration of relationships refers to, though they undoubtedly went through various stages of metamorphosis while unwrapping the layers and development of a friendship/partnership.
James Pett’s brother, Sean, provided the score which he and violinist Adriana Cristea play live at the start and the end, with recorded music in-between. While it is an entirely original composition, he has incorporated parts of both Max Richter and Vivaldi’s works, seamlessly interwoven.
The good news is that both James Pett and Clausen-Knight are extremely good dancers and gifted choreographers. They understand how to structure, the value of rapid movement against stillness, the art of expressing emotion through the type of movement they offer and they do it supremely well.
If it wasn’t always clear what was being portrayed, this was most likely because the viewer was occasionally expected to draw their own conclusions. One thing that struck me very early on in the hour long piece, was that it was rather like watching a surrealist painting come to life – perhaps a René Magritte. The chapter where Clausen-Knight wears a head covering that is adorned with flowers, obliterating his features, was extraordinary. Is this an indication that we tend to want to see people in a beautiful guise, until the mask drops? During the performance, when Pett begins to stick flowers in Clausen-Knight’s mouth, I wondered whether Pett was being controlling. But earlier I had thought it was the other way round.
There are many moments when there is a sense of abandonment, followed by a reconciliation. Whether this is a reflection of their own experience (the idea came to fruition during a 2020 lockdown) or whether it reflects a generalisation of the emotional journey of any relationship, doesn’t really matter. Either way, there was much to identify with.
The music too, was an interesting roam around the mathematical consistency of classical music, the beat of more modern music, the distortion of sound and even what at one point led me to imagine someone rifling through the cutlery draw, metal on metal.
It's difficult to decide if it's the performances that are so engaging or if it's the content. They move very beautifully together, like a sixth sense, completely in tune with one another's next step, which is very pleasing. There are also daring and innovative lifts and extreme movements (possibly inspired by their time with Company Wayne McGregor and Michael Clarke Company), but mostly it looks like their own brand.
This is a two man outfit – one that fits them very snugly. They are having tremendous success touring abroad, appearing as guests in gala settings and clearly have a fan base. There is lots going for Pett | Clausen-Knight, and now I'm wondering, is there a possibility that they could create something for someone else, other than themselves? They have the knowledge, expertise and talent, to do just that.
