Rambert - Alhambra Theatre, Bradford (On behalf of The Reviews Hub)
This review was originally written on behalf of The Reviews Hub and the link can be accessed here.
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Rambert brings their triple bill of works to Bradford’s Alhambra Theatre. The evening begins with Mark Baldwin’s Dark Arteries set against Gavin Higgins’ music and assembled on stage is the infamous Carlton Main Frickley Colliery Band.
Dark Arteries is a dark piece of work where stories of stories are fully expressed. Inspired by the 30thanniversary of the 1984/85 miners’ strike, this work explores the emotive journey and livelihoods of the close knit mining communities. Deep brass musical orchestration opens up the depths of the community with slow paced and silhouetted dancing.
Simultaneous dancing takes place by the company’s artists and movements are synchronised when performed in groups, trios and duets. The continuation makes one think of solidarity, a strong attribute in the mining communities during tough times of change.
The final scene presents the flexibility of the dancers and their ability to create intricate positions, interpretative of the raised themes and experiences to Higgins’ musical composition.
Shobana Jeyasingh’s Terra Incognita is a piece where the dancers certainly discover their unknown habitats. Firstly, a smoke filled stage and soundscapes of nature create an atmosphere where dancers explore in synchronisation foreign spaces and existences, which are done with slick choreography.
The dancers dance in union to the music, collectively symbolising intrigue while the subsequent heightened paces represents familiarisation. The dancers’ nomadic existences are noticed from the simultaneous entrances and exits from the stage.
The musical shift in Gabriel Prokofiev’s composition reflects the individuals’ journeys, including their determination to embrace intrigue and suspense of an unknown place, to settling in. This colourful and reflective piece of work encourages the audience to think literally and symbolically about their existences and purposes.
Last but not least, is Rooster, the main feature of this triple bill. Christopher Bruce’s choreography is set to several of the Rolling Stones’ songs. Rooster celebrates the swinging sixties with sharp and sassy courtship dances by the company.
Miguel Altunaga leads a light hearted entertaining interpretation to Little Red Rooster. The audience is treated to a variety of dancing such as the beautiful classical interpretation by a solo dancer to Ruby Tuesday to the energetic and dynamically fast paced ensemble dancing to Play With Fire.
The red and black costumes the dancers wear reflect the figurative meanings and context from the songs, while Bruce’s choreography reflects the social changes and society during the 1960s and 1970s.
This lively work concludes Rambert’s reflective and refreshing triple bill. Each piece of work is enjoyably unique with modern themes. Particularly memorable are the performers who take pride in their dancing these exciting works.