After a more traditional direction from the new leadership of Ballett am Rhein in their season opener, new programme Kaleidoskop is a mixed selection that sees a fusion of contemporary and neo classical choreography. Featuring work from modern dancemakers, barefoot African dance from Mthuthuzeli November is seen next to Jean-Christophe Maillot’s stylish pointe shoe clad ballerinas in Vers un Pays Sage.
Co-choreographers Iratxe Ansa and Igor Bacovich have been creating dance together for over ten years, Moto Perpetuo is their first piece for Ballett am Rhein, it begins unremarkably but builds impressively into something quite mesmerising.
In a brief and vague synopsis, my expectations were low, “the persistent and unceasing process of the passage of time is made visible in a constantly moving interaction of space, movement, light and music.” Best to focus instead on Márcio Mota, who we see, confined by a thick wall. In dank lighting he sits alone, clearly restless. He is joined by other dancers who come and go, breaking off into duos and trios in Stefanie C. Salm’s staid baggy brown costumes and black socks.
Domenico Melchiorre and Philip Glass’s score elevates with moody strings that hint at the drama that will soon ensue. The group rush together and apart, an explosion of limbs before quickly dispersing. But then, a shift. The wall rotates, it divides into different arches which turn to separate the group. A flash of white light and everyone comes alive, Glass’s Symphony No. 3 is played with urgency by the Düsseldorfer Symphoniker and the dancers morph into futuristic powerhouses, in shiny chrome bodysuits.
The choreography finally pops with the group coming together as a larger ensemble, they twist their bodies in unison, with high jumps and deep pliés along the way. Mota is the smoothest of movers, slinking through the physical demands with ease. A blur of movement follows, the rotations of the wall gather pace until blackout, when Mota is once again left in darkness at the breathless conclusion.
My eye was immediately drawn to the inclusion of a Mthuthuzeli November work on the bill. In another world premiere, the former Ballet Black dancer presents Invocation which seeks to transport the audience to his childhood in South Africa and bring to life pivotal moments that shaped his future.
Aesthetically November’s vision is simple, well staged and attractive. A straw hut encases the action, men and women in fringed costumes (Yann Seabra) form a close knit community around our main focus. At the centre is Long Zou, as a young November. Zou is such a striking performer. His long black flowing hair is deployed like an extra limb to sweep and emote each movement a little further, his elegance is always captivating.
There is chanting and singing, the dancers using their feet as percussion to enhance the rhythms of November’s self-composed score (in collaboration with Alex Wilson). Later, Joâo Miranda appears in a vibrantly coloured costume, perhaps the physical manifestation of the confirmation November is seeking, that he is following the right path.
Unfortunately, the piece never fully takes off, or at least a clear narrative does not emerge. November is successful in evoking the atmosphere and soundscape of his youth but the storytelling lacks clarity for others to engage with it.
Not a premiere, but Jean-Christophe Maillot’s Vers un Pays Sage is a show stopping conclusion to this kaleidoscope of dance. First created thirty years ago for Ballet de Monte Carlo, it’s a deliciously stylish throwback. The white leotards look like vintage bathing suits against a vibrant coloured backdrop, and the men in off-white shirts and trousers look like something from a 1950s musical.
Twelve dancers commit wholeheartedly to the exhausting choreography. I particularly loved the fish dive-esque lifts that see the women fly across the stage. The larger ensemble sections could do with some extra drilling, but my attention was entirely stolen by the thrilling pas de deux of Skyler Maxey-Wert and former Scottish Ballet Principal, Sophie Martin. A pair that displayed athleticism and a soft sophistication as they floated through the demands to John Adams' quirky score Fearful Symmetries. Pays Sage is the longest addition in this triple bill but it's undoubtedly the one the audience wanted more of in this versatile programme.
