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An eclectic audience gathered for Birmingham Royal Ballet’s performance of an impressive repertoire of contemporary pieces. I had my most pretentious scarf on, and was ready to be swept away on a highbrow carpet of “darlings” and exquisite “arabesques”. Instead, I enjoyed modern, cutting edge dance presented in a surprisingly accessible way.
The first of the three pieces, Bach’s “Concerto Barocco,” to choreography by Balanchine (legend), juxtaposed contemporary formations with a comforting classical style of ballet. It was a complete muso’s paradise, the lines of choreography mimicking motifs in the music and reminded me how ironic it is to be left so relaxed whilst watching something so physically demanding.
The second piece, “Twilight”, was a theatrical lovers tiff, although the programme notes were invaluable at this point. Definitely the most hard going performance of the evening for a main stream audience due to the complexity of the contemporary styling of both the physical movement and the unnerving, plinky-plonky sound of a solo pianist with dampened strings.
The first five minutes were unfortunately lost on me for two reasons:
Having finally acclimatised to the angular staccato of the piece, I awoke to the female in heels stomping around the stage, reminiscent of many a walk home post Thursday Gallery. As she flung her heels off and began to move in a much more aggressive timbre, I pondered whether this represented the morning after hangover or that hideous 2am moment when you realise you have no bread and you would literally kill for cheese on toast.
The anticipation of the following Brubeck premier changed the atmosphere of the hot, sweaty venue completely (“the heating must remain on for the sake of the dancers” – tell that to the pensioner with St Johns Ambulance). “Take 5” opened with five illuminated squares on the stage. The dancers, their musicality challenged by compliance with Brubeck’s driving high-hat, glided and leapt effortlessly around, and it became immediately apparent why such a young company had to be chosen for a performance which evoked all the joviality of youth.
This was followed by a “3 to get ready“ where frankly, as talented as the artists the stage were, I was far more captivated by the incredible live accompaniment of the renown Dave Brubeck Quartet.
I became slightly disheartened at the beginning of “2 step” – a move back to a classical en point solo was a complete yawnfest. But then, the combination of the incredible tone of a cutting sax with the incredible tone of male lead Tyrone Singleton’s bottom was the pinnacle moment of the evening. Gracing Gershwin-esque sweeps and swiveling hips - ballet just got sexy.
When I didn’t think it could get any better I was suddenly whisked away to an all-clapping-all-lassoing rodeo square dance, and then southwards to Latin America riding the rhythms of a skilful male solo bossa nova. Yes - it was the epitome of poncing around the stage, but it was poncing with the finesse of a neo-classical Ricky Martin. The finale was a crescendo of pirouetting, leaping frivolity – a joy to behold and precursor to an insatiable desire to gallop all the way home.
Birmingham Royal Ballet played the York Theatre Royal 9th&10th May, marking the end of their Spring tour.
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