Short, sharp adrenaline hit: Dutch National Ballet thrill in Forsythe

Dutch National Ballet have been dancing William Forsythe’s work since 1989. Now, before the season ends, they dedicate an entire programme to him, featuring recognisable classics of his repertoire and a premiere for the company. Forsythe’s work is renowned for its speed, demanding physicality and stripped back staging, and the company relishes the opportunity of performing it, evidently enjoying the technical challenges and witty musical phrasing. 

Originally created while Forsythe was the Director of Frankfurt Ballet, The Vertiginous Thrill of Exactitude is one short, sharp adrenaline hit. The format has been reworked a little here; the female corps featuring six dancers instead of three, the men remain at two. The blur of steps stretches both technique and endurance as the troupe responds to Schubert’s relentless score for this ten minute burst of cardio. Stephen Galloway’s instantly recognisable costumes, rigid lime green tutus, complement the clean lines of choreography, while the men contrast in crimson.

There’s an interesting composition of casting choices at this matinee too: a principal, a scattering of soloists and more junior members dance shoulder to shoulder. Jessica Xuan thrives despite the pinpoint footwork necessary, flying across the stage with articulate manoeuvres, untroubled by the complexity. Meanwhile, corpyhée Kira Hilli, suited the exposing technical challenge, pulling it off with a confident style above her rank. 

Fans of In the Middle will almost certainly savour Pas/Parts (2018) too; the silhouettes and the angular posturing will all be familiar, but the clangs and the crashes are replaced with the whooshing and rushing of percussive instruments, and later a jazzy Cha Cha beat is present in Thom Willems chaotic score.

Episodic in nature, the action moves from solos to pas de deux and full set pieces. Unfortunately the cast sheet does not denote the dancers in leading roles. Two females riffing nicely in a playful duet sees them 'high five' between phrases, their lucid footwork speaks its own dialogue between them. There are explosive solos for the men in glittering black practice wear (again, Stephen Galloway) and the overall impact is engaging as one section leads into another, yet five minutes of editing would sharpen focus. 

Blake Works I (music by James Blake) is new to the Dutch National Ballet, readers might remember English National Ballet’s exhilarating take on it last year and it loses none of its sass here. It feels by far the most “current” part of the programme.  

It’s also the most popular with the audience who are vocal in their appreciation after each track for the chorus of dancers in simple baby blue leotards. Forsythe’s choreography is dependent on dancer cohesion and charisma, in Put that Away and Talk to Me, the moody flick of a wrist and the nonchalant shrug of a shoulder are all vital and something the Dutch trio pull off with aplomb. The corps assemble for I Hope My Life and is where things really hit their stride, simple classical steps - arabesques, deep pliés and pirouettes - are interspersed with bopping on the spot, this is part ballet barre, part in the club and the dancers' enjoyment is tangible. 

There are some slower numbers in the mix The Colour in Anything and I Need a Forest Fire are more sincere and less original. There is a more subdued mood with, “f.o.r.e.v.e.r”, a reflective pas de deux that precedes curtain down, something which comes as a surprise to the audience. They would have liked just a little bit more.