Review: RAMBERT X (LA)HORDE: BRING YOUR OWN, Southbank Centre

Collaborations are very now, and the Rambert x (LA)HORDE combination is a very worthwhile experiment. It brings together the UK's longest running contemporary dance company (with classical ballet beginnings) and one of France's most of the moment collectives (who also run the Ballet National de Marseille since September 2019).  

The evening is called Bring Your Own and consists of three works; a new commission made on Rambert, and two existing (LA)HORDE pieces. What I've seen of (LA)HORDE's work to date doesn't disappoint, well not across the board, but there's still ups and downs to discuss.

The Rambert commission Hop(e)storm opens the evening, and uses Lindy Hop as its base language. The blurb discusses equality, but the predictable partnering doesn't suggest it. 99% of the time it's men and women dancing together, and the women are always the ones to be lifted, chucked or dragged around. There's an opening section that's largely WWF in feel with lots of body slamming and wrestling, but when the dance begins it's infectious indeed. (LA)HORDE understand the power of historical dance reworked within a modern vernacular and aesthetic. Said aesthetic including streetwear attire, harsh lighting and electronic music.

Lindy Hop basics - hop, kick, swing, pull - are always going to feel good to do and watch, and with the dancers in their element, fun is bound to be had by all.

Weather is Sweet is inspired by the LA club scene (not obvious) and aims to discuss important, difficult topics; intimacy, consent and sex-positivity. I find it does so in a very basic way - as in 2025 basic slang - which is disappointing. The choreography has intelligence and structure at times, but it feels like the sex simulation i.e. a lot of dry humping is there to shock in a lazy way rather than really address the complexity of subject matter. 

Two strongs aspects are the understanding of humiliation - they tap into this fine line via movement infused with both surrender and agency. And the power of stillness - with duo work allowing proximity and connection to do the talking. Elsewhere it is a little too obvious.

Closing the evening is an extract of A Room With a View. I've seen the work before performed by the Marseille troupe, and I'm afraid they trump Rambert. The dancers are unquestionably engaged, but lack the dichotomy the movement language requires. I find them too polished when abandon is called for, and too rough when precision is needed. There's work to be done.

The piece asks serious questions about dance as protest. When contemplating this one assumes the dance itself is the protest, yet here we are watching a work that seems more about performative protest within a dance framework. 

Again (LA)HORDE offer strengths, most notably the understanding of the power of the collective, and the ancient nature of dance. Towards the end the group form a circle that moves with a trance-like quality, carrying an individual around who seems equally lost and found, and coupled with Rone’s rousing, electronic score the moment absolutely transcends any performative concerns. Likewise the slo-mo tableau that read like renaissance paintings brought to life.

Elsewhere I wanted the ground to swallow me up. Specifically during a section where the group were aiming to channel hedonism that felt very forced, and the end when they began to hum along with the music; cue positive facial expressions and the house lights lifting like a sunrise in relation to major chord music accompaniment. Call me what you want - but this is way too obvious pour moi. I prefer protest with a little more reality and genuine intention.

Rambert x (LA)HORDE: Bring Your Own is at the Queen Elizabeth Hall, Southbank Centre until 10 May