Yorke Dance Project is celebrating its 25th anniversary this year and has brought a very interesting and well balanced mixed bill to the Linbury Theatre at the Royal Opera House. Its title, California Connections: Three Pioneering Women represents three of the most extraordinary figures in modern dance, who contributed much to the 20th century, championing artistic freedom. Some of it is still as revelatory today as it was 75 years ago.
Focusing on Isadora Duncan, Martha Graham and Bella Lewitsky, who were all linked to California, the programme opened with a reworking of Sir Kenneth MacMillan’s 1981 ballet Isadora. Created for The Royal Ballet, it was originally in two acts, later a one hour/one act in 2009 and in its current iteration (2023), reduced by a further 20 minutes. Her life was punctuated with tragedy and, apparently, a lot of carnal adventures, which are unapologetically on display in MacMillan’s passionate, daring duets.
This is a distilled version of Duncan’s quest for personal fulfilment and love rather than an exploration of her work and it contains some very poignant and memorable moments. The most affecting is when she recalls her children, who drowned in an accident at a very young age (she later lost a third child shortly after he was born). Set to a score by Richard Rodney Bennett and with narration of Duncan’s own words by Rachel Handshaw, there is absolute clarity in the drama. Performances from the cast were excellent with Amy Thake leading as Isadora, but, strange to say, whilst I found it moving and sensitively portrayed, it lacked heavyweight, dramatic impact.
The second half included a world premiere by artistic director Yolande Yorke-Edgell, A Point of Balance, which she describes as her response to the three women who have inspired her. This is wholly in evidence as the three dancers moved with different choreographic vocabulary but always with moments of tangible connectivity. With a score that included Heiner Goebbels, Kronos Quartet and Laurie Anderson, it is clear that Yorke-Edgell is on the cusp of following in the footsteps of her legendary inspirations.
Also in the second half and closing the programme was Bella Lewitsky’s 1984 Meta 4. This slow burner is a lesson in perfect symmetry. Robert Xavier Rodriguez was commissioned to compose the score in which he undertook to extend that equilibrium by using four dancers, four musicians, four sections and so on. In Meta 4, one of Lewitsky’s later pieces, the geometry is paramount and it unfolds with extremely satisfying logic. This was certainly taxing for the four dancers, Luke Ahmet, Jenny Hayes, Pierre Tappon and Abigail Attard Montalto, but the momentum was supremely maintained.
It was Attard Montalto, together with Edd Mitton, who gave the stand-out performances of the evening. Martha Graham’s 1947 Errand into the Maze is based on the myths about Theseus, Ariadne and the Minotaur. This piece is 15 minutes of dynamic, intense and unforgettable drama, all the more so because one cannot help but be impressed at the historical significance of its age. It’s Graham, so Ariadne triumphs, making mincemeat of the Minotaur, but it’s also a masterclass in captivating an audience to the point where the potency of the performances feels almost personal.
Attard Montalto was mesmerising both facially and physically, displaying astonishing core strength and, more importantly, not allowing us to divert attention away from her endeavours for one second. Mitton miraculously executes everything with his arms wrapped around a pole that’s balanced across his shoulders and neck. Visually arresting, it’s a piece that will remain with me for some time and makes me wish that we had more opportunity in the UK of seeing live performances of Graham’s large body of work.
It was an evening of contrasts and one that was highly educative.
