Review: RAMBERT - THE CREATION, Sadler's Wells, 11 November 2016

Mark Baldwin, artistic director and choreographer of The Creation, describes Haydn's oratorio as "perfect dance music". Combined with subject matter no less than the creation of the world, one begins to understand the gravitas he aims to bring to this piece, a sizeable project for the UK's oldest Dance Company.

The set provides a truly striking component, its gothic arches filling the Sadler's Wells stage. Add a hefty chorus of BBC Singers, full orchestra and three soloists (soprano, tenor and bass), and the necessary pomp required here is certainly provided. However, a problem arises in Baldwin's work when the music and dance elements battle for attention on this busy stage, resulting in incohesive storytelling and a lack of clarity.

Individually, each of the 50 dancers is wonderfully lyrical and demonstrates great ease with Baldwin's undulating choreography. They company is comprised of a mixture of Rambert dancers and students from the Rambert School of Ballet and Contemporary Dance. As one would expect, there is a beautiful quality of movement, feet firmly staying within the classical genre Rambert does so well.

The medieval themes highlighted in the set are reflected too in the period costuming of ruffled and frilled leotards in black and brown. This choice creates great anonymity within the cast, as it becomes a challenge to gauge stand-out moments. Pas de deux are fleeting and there are few chances for individuals to shine, making for a slightly bewildering experience. We are whisked through the various days of the creation story with this cheery, repetitive overture, that for the first act, at least, fails to clearly highlight the division of the days. Fortunately, Act Two - featuring Adam and Eve - is slightly easier going.

Once the narrative becomes clearer, the quality of dance reaches a new level, with stunning fluidity and impressive extension (still easy to pick out in sludgy leotards). It is undoubtedly original choreography Baldwin employs, yet not necessarily all that engaging for the viewer. The music denotes peaks and troughs in its dramatic intent, but Baldwin is content to allow the dance to remain a separate component in this mismatched evening.

The Creation ran November 10-12 at Sadler's Wells, and earlier in the year at Garsington Opera

Picture credit: Tristram Kenton

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