Review – Richard Alston Dance Company, Royal and Derngate, Northampton, 16th October 2018

Posted on October 17, 2018 by therealchrisparkle

It’s always a pleasure to see the Richard Alston Dance Company on their autumn tour – I’ve been a fan (there’s no point denying it) since I first saw the company in 1998, although I’ve enjoyed his choreography since I first saw Rambert perform Rainbow Ripples back in 1980. The word on the street is that this is his penultimate annual tour before the company closes in 2020 – dark days ahead for contemporary dance lovers; particularly as the current casting of the company has many new fresh-faced young dancers honing their skills, performing great dance and promising even greater things in the future.

Mr Alston introduced the evening with an explanation of the first two items on the menu. Like last year, we began with a curtain raiser featuring young local talent. We watched eight young dancers from Northampton School for Boys performing Lost Child, choreographed by their teacher, Alison Clinton, inspired by the story of Peter Pan. We were genuinely impressed with their commitment, skill and artistry. It was full of character and story-telling, and dotted with many moments of humour; and some terrific leaps too. Above all, you could tell that they really enjoyed it; and that sense of pleasure always communicates itself back on to the audience so that we loved it too. Congratulations team; we were happy to tell a couple of the guys during the first interval how much we enjoyed their performance – and they seemed happy to hear it.

Mr Alston also wanted to explain the thought process behind the next piece, Mid Century Modern. To celebrate his fifty years as a choreographer, this is like an Alston’s Greatest Hits sequence; six excerpts from dances he has choreographed over the years. They’re not in chronological order, they’re ordered to create a contrasting impact. It’s also an excellent way to introduce us to the company, as two of the pieces are solos, another is a duet, and the rest involve everyone.

We started with Fever (2001), a showcase for Elly Braund and Nicholas Shikkis, amongst the very finest dancers performing today. They commanded the stage with their immense control and fluidity; totally engrossed with the accompanying madrigal music. Nowhere Slowly (1970) is Mr Alston’s earliest extant piece of choreography, and features the excellent Jennifer Hayes encircling the stage in a deceptively simple action of dance drama. Blue Schubert Fragments (1972), set to a Schubert Adagio from Death and the Maiden, is a charming piece that suggests how peoples’ lives can be interwoven by the same activity. The excerpt from Rainbow Bandit (1977) was danced in total silence and shows how concentration itself can be beautiful – I would have loved to hear the “Rainbow Chuck Bandit” vocal soundtrack again though! The solo from Shimmer (2004) is a monument to elegance, and a perfect vehicle for new company rising star Joshua Harriette. Finally there was a sequence from Signal of a Shake (1999), one of those crowd-pleasing numbers where the story was told twice – the second time at top speed – to the stately sounds of Handel. The variety of styles and the superb execution made this an excellent opener to the Alston programme.

After the first interval we returned for Martin Lawrance’s new work, Detour. Seven dancers react to the highly percussive soundtrack from Michael Gordon’s Timber Remixed, which reminded me of the sound of helicopter wings revolving continually, more frenetically, until the sound was just an electronic blur. Very exciting and mesmerically beautiful, this demands a lot from its dancers, combining speed with elegance as it hurtles towards its final crescendo. The final coupling of Monique Jonas and Joshua Harriette was mind-blowing, with their almost circus-skill balancing act. We both absolutely loved it. Then it was time for Richard Alston’s 2006 work, Proverb, with its intriguing soundtrack of the repeated line “how small a thought it takes to fill a whole life”, embellished and enhanced so that it resembles some form of Gregorian Chant. I particularly appreciated Peter Todd’s costumes – coloured, textured dresses that had been invaded by black down one side, as though in perpetual half-mourning. The full company of dancers all worked together to create an image of interdependence and harmony; a heart-warming message in these rather fractious times.

After the second interval we returned for another new piece – Richard Alston’s Brahms Hungarian, a sequence of ten dances to the accompaniment of those famous Brahms’ Hungarian Dances but not, as they usually are, played by a full orchestra, but to the plaintive and delicate notes of Jason Ridgway on the piano. This was a fabulous way to end the evening. The traditional Gypsy rhythms inspired some very grand and formal, yet expressive, choreography; and I admired Fotini Dinou’s swirling floral dresses for the female dancers, matched by stark and smart angular jackets for the men. I think this is the closest I’ve seen Richard Alston choreograph something so closely akin to classical ballet, with the girls on tiptoe (they’d be en pointe if they were in the right shoes) and the men supporting the women in an (almost) traditional pas de deux. It was stunning.

With a number of changes in personnel in the company’s line-up (five dancers from last year’s show have moved on, five remained) I feared there might be some “gaps” in this year’s offering, but not a bit of it. The company is as strong as ever and gave us a truly superb night of dance. Congratulations to all!

Review – Richard Alston Dance Company, Derngate, Northampton, 5th October 2017

Posted on October 6, 2017 by therealchrisparkle

It feels like I’ve been watching the Richard Alston Dance Company every year since Diaghilev was a nipper. It’s something I always actively look forward to, and it never fails to make me smile, laugh, go “wow!” or simply admire the quality and commitment of the dancers and choreography. Other contemporary dance companies seem to come and go through the years, but Richard Alston and his happy crew are as constant as the northern star.

This year’s programme has one dance that premiered only a couple of weeks ago, another that’s a year old, and another that’s an old favourite, returned to the repertoire after a decade in the filing cabinet. But we started with a curtain-raiser: What Happens in the Silence, a dance specially choreographed by Ihsaan de Banya and Laura Gibson as the final part of a four-month project between Two Thirds Sky and RADC. Twenty local young dancers took to the stage to perform this incredibly exciting, physical rollercoaster of a dance, showing ability and maturity way beyond their years. It absolutely deserved its place on that stage and it was a privilege to see its world premiere! This must have been a wonderful opportunity for the young dancers and I hope that many of them go on to have great dancing futures. The dance itself should also have a life beyond these two nights, as it crackles like electricity.

Our first Richard Alston dance was Carnaval, and if my maths ‘O’ level doesn’t let me down, this was just its third public performance. The setting is a party where the composer Robert Schumann, accompanied by his wife-to-be Clara, are guests. Schumann had mental health problems, and as a coping mechanism he identified that he had two separate sides to his personality; Florestan, his fierce and wild side, and Eusebius, his calm and reflective side. So in Carnaval, two dancers play the interdependent aspects of Schumann whilst Clara has to manage both of them. During the course of the dance, Eusebius has to calm the aggravated Florestan in order to soothe the atmosphere with Clara; at the end, all three dance together in harmony.

Visually this provides a rather amusing portrayal of a menage à trois, while the graceful dancing guests at the masked ball look on at these two men vying for Clara’s attention. Do they see Clara with two lovers, or with one troubled one? That’s part of the intrigue. The music, unsurprisingly, is Schumann’s Carnaval, a tempestuous solo played with expressive attack on the grand piano by Jason Ridgway. The dancers are clad in appropriately contrasting and complementary shades of grey and the whole piece looks both elegant and stormy. Nicholas Bodych brilliantly conveys the unpredictability and passion of Florestan, whilst Liam Riddick gives a typically immaculate performance of serenity under pressure as Eusebius. Elly Braund is superb as the interconnecting Clara, reflecting the various styles of her difficult paramour. I thought it was a beautiful and powerful piece and a great new addition to the repertoire.

Next up was Chacony. Where the protagonist in Carnaval had two parts to his personality, this dance is also divided – by two separate musical chaconnes. The first is by Purcell, reflected by Restoration red frock coats and courtly charm, the other by Britten, in post-WW2 austerity and angst; riches to rags, one might say. The first part takes a very formal and charming approach to elegant dancing; the second becomes much more contemporary in feel, full of expression and sadness, but with a hope for something better to come. It’s a fascinating piece, as two very different sets of emotion are produced from two contrasting versions of the same musical structure. All the dancers were on absolutely top form and the choreography provides plenty of opportunities for them to shine individually and also work together superbly.

The final piece was the resurrection of Gypsy Mixture, which we’d seen twice before back in 2004 and 2007, in the days when Jon Goddard and Martin Lawrance were the stars of the company. The Electric Gypsyland music to this dance is irresistible, and the dancers sway and gyrate to its rhythms and eccentricities with unpredictable delight. Some of those male hip actions and bottom tremblings certainly got the young female dance fans in the front rows whooping with appreciation; because of the nature of this particular dance, that response was perfectly acceptable! The combinations of the dancers worked extremely well in this piece, with Liam Riddick and Monique Jonas providing the ultimate in style, and Nicholas Bodych and Jennifer Hayes nailing it with chic cheek. Jam packed with warmth and fun, everyone created a truly feelgood end to the evening.

The company’s autumn tour has one more night here in Northampton before going on to Brighton, Truro, Bromley and finishing in Glasgow on 23rd November. If you’re looking for creative and eloquent choreography performed with superb technique and genuine love for their art, you can do no better than this company. Already looking forward to next year!

Review – Richard Alston Dance Company, Royal and Derngate, Northampton, 8th October 2013

Posted on October 9, 2013 by therealchrisparkle

My expectations were high. The Richard Alston Dance Company’s annual tour is always on our theatrical calendar because they never fail to entertain and impress with their strong skills and creative dance pieces. However, it’s not often during an evening of dance that you have to pinch yourself to make sure you’re not dreaming. The company’s new tour started last night in Northampton with a programme so full of exquisite choreography and stunning performances, that it must rank as one of the best dance nights we’ve ever seen – and I’ve been watching dance for well over thirty years now.

The company has some fresh faces and some familiar ones, and each gives the maximum onstage commitment throughout the night. It’s great to see the two new apprentices turning in such accomplished performances – Ihsaan de Banya’s athletic enthusiasm, and Jennifer Hayes’ natural charm and elegance radiate the stage in The Devil in the Detail, the first piece in the programme. We saw this dance last year and enjoyed it, but this year it seemed to have an additional spark and beauty. Performed to the live piano music of Scott Joplin, it’s a champagne sorbet of a dance; light, amusing, delicate, but with a very satisfying punch. From the moment Nancy Nerantzi appears and weaves an enticing spell to the “Maple Leaf Rag”, to be joined by Liam Riddick and his incredible physical agility you know you’re in for a real treat. As ragtime dance follows ragtime dance, you become more and more engaged with the dancers, observing their own individual relationships with each other, and your smile widens as it all progresses. Nicholas Bodych is a terrific new member of the company and is a perfect partner to the extraordinarily expressive Nathan Goodman for the “Stoptime Rag”. “Cascades” starts with one of Mr Riddick’s explosive solos, where he shows his amazing talent that deservedly got him nominated for one of last year’s National Dance Awards. I particularly also loved Oihana Vesga Bujan’s earthy sensuality in this dance. But it was all wonderful, from start to finish. At the end of it, Mrs Chrisparkle and I turned to each other and started searching for superlatives.

The second, short piece is Brink, choreographed by the superb Martin Lawrance, first performed in 2007 and here revived with a totally new cast. What hits you at first with this piece is the incredibly forceful accordion music of Ayuo’s Eurasion Tango; it’s one of those pieces of music that just cries out for inventive choreography – and it certainly gets it. Two fabulous duets with Elly Braund and Mr Goodman, then Miss Vesga Bujan and Mr Riddick are full of intricacy and intimacy; you get a powerful sense of strength tempered with submission as each dancer envelops their partner. I was only sorry this dance didn’t last longer. After a pause comes Richard Alston’s Lachrymae, the first of two dances to music by Benjamin Britten in his centenary year. Three duets this time, continuing the theme of intimacy started in Brink, but with a stronger sense of yearning and passion. It ends with all three couples performing side by side, and there was something about that final scene that I found very moving – I can’t explain exactly why, it must just be the power of dance. It was performed throughout with immaculate precision and true emotion; and I also really liked Belinda Ackermann’s pseudo-Indian costumes, which lent an additional air of the exotic.

We didn’t get to the theatre early enough to listen to the pre-show talk, although some friends did, and they said they found it very useful in understanding what was behind each of the three pieces. Mrs C and I were both slightly confused by the narrative in the final piece, Illuminations, about the relationship between Rimbaud and Verlaine, and maybe it would have been clearer if we had attended the talk; although, the programme notes explain the story pretty well, and, to be honest, I don’t mind not fully understanding a dance narrative. Sometimes you can overanalyse and try to put into words something that actually is best – maybe only – properly expressed in dance. It’s actually quite a symmetrical piece, full of great choreography and some really beautiful dancing, not only from the soloists but also from the accompanying dancers. What I can tell you is that there were some superb individual scenes within this dance – Rimbaud’s brash opening solo (Mr Riddick at his absolute best); the way he sorts his way through a crowd presenting a barrier to Verlaine, dismissing them one by one till he gets to the suitably imperious Mr Goodman, which is nicely contrasted with a similar scene at the end but with a much more desperate Rimbaud; Verlaine’s entrance carrying a beautiful girl on his shoulders, only to be replaced by Rimbaud on his shoulders later on; and Mr Riddick’s final departing solo. His depiction of the positive younger man falling into despair and suffering mental torture has a huge impact – it’s an outstanding performance.

It’s so rewarding to have an evening of dance where the choreography is challenging, expressive, varied and beautiful, and where the dancers rise to those challenges and really live those emotions so they convey to the audience a vivid world of drama and excitement, expressed through the medium of dance. This really is a company on the tip-toppiest form; every single one of the dancers is a powerhouse of creativity and skill, and it’s a programme of unadulterated magic. After Northampton, their tour continues to Wycombe, Edinburgh, the Barbican, Glasgow and Guildford (and Moscow, if you like the cold). Honestly, this is as good as it gets.