Rambert's eagerly awaited return to Birmingham showcases their reputation as Britain's national dance company, extending the reach of their world class dance to the Midlands with an accessible triple bill of works, Frames, Transfigured Night and Rooster, performed at the Birmingham Repertory Theatre.
The evening opens with
Frames, choreographed by Rambert and Birmingham Royal Ballet trained Alex Whitley, whose
Kin recently impressed at the Birmingham Hippodrome. Presenting Rambert's dancers at work,
Frames is concerned with the construction of dance. Metal poles, used to create the sound effect of a building site, are cleverly incorporated into the dance as though they were an extra limb. These poles are subsequently joined together to literally create frames, which blend seamlessly with the choreography and blur the boundaries between the real and the imaginary. Fluid choreography mirrors the shape of the ever-changing frames, manipulated by dancers. Frame and body sensually intertwined to create an erotic and emotive image. These are the best moments of
Frames; when Whitley really begins to play with light and shadow.
Frames is a wonderful exploration of bodies and objects can interact in dance to become more than the sum of their parts. It does not possess the emotional intensity or drive of a full length piece, yet has an interesting premise that could be developed further. Rambert's chorus are more impressive when breaking out into smaller groups but, when dancing as a whole, lack the absolute uniformity and discipline of other world-class companies.
Kim Brandstrup's
Transfigured Night follows three distinct relationships: the first fraught with the anticipation of rejection, the second an idealised dream of acceptance and forgiveness, and the third (more real) uncertain, ambiguous and compromised. Brandstrup was inspired by the imagery of Egon Shiele, evident in piercing gazes and the desperate clinging together of the men and women.
Simone Damberg Wurtz gave a beautiful and heart-wrenching portrayal of the principal female; her movements heavy with vulnerability, before quickly switching to a flighty, impulsive tempo. The staggering lifts performed by both chorus and principals show the implicit trust that exists in this tight knit company.
The stage appears bathed in sunlight (stunning design by Fabiana Piccioli) for a soaring lover's duet. Here, Brandstrup's choreography is delicate and finely detailed, characterised by lingering eye contact, child-like movements and tender moments of pause.
The evening's splendid finale is
Rooster - Christopher Bruce's love letter to the music of the 1960s and '70s. The audience are heard to quietly sing along to the iconic Rolling Stones soundtrack, which features Little Red Rooster, Paint It Black, Ruby Tuesday and Sympathy for the Devil. The men preen and posture, whilst the women look on with a disdainful and amusement.
Hannah Rudd, who catches your eye throughout the entire evening, is charming in the Ruby Tuesday solo, with a captivating fluidity and finish to her movement. The charismatic Miguel Altunaga is the star of
Rooster, completely embodying his loveable yet chauvinistic character.
This highly popular work is really the most incredible fun, with super-charged, energetic choreography, retro costumes and references to the iconic Mick Jagger popping up everywhere. The company's love of the piece is infectious;
Rooster is a feast for the eyes and nourishment for the soul. The audience leave on a high, humming The Stones and inspired by Rambert's life and energy.
Photo credit: Tristam Kenton
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