The Rambert dance company is renowned for imaginative, ambitious, cutting edge choreography matched by stylistic technique, emotional mood and high energy with live music performed by an orchestra.
Starting the evening’s trilogy of dances is a dark, psychological drama, “Awakenings,” based on the factual account by Dr. Oliver Sacks of the comatose condition called “encephalitis lethargica.” In 1969 at Beth Abraham Hospital, New York, patients were treated with the drug L Dopa which restored movement but also caused frenetic convulsions and a gradual return to immobility. Music too was an important aspect of treatment, encouraging them to react to the rhythm and sound. The idea for a dance work based on Sacks’ book came from his friend, the American composer Tobias Picker, who in fact suffers from Tourettes syndrome.
Studying the observations of ‘sleepy sickness’ patients and their alternating “ free movement … and frozenness,” choreographer Aletta Collins created a character for the dancers, each taking on an individual sufferer trapped in their own silent, dysfunctional world: a man twitches and twists his hand erratically; a young girl stands still as if paralysed and is lifted up like a mannequin doll.
Complementing Picker’s shifting, fluid score from austere dischord to soft melodic passages, the ensemble of dancers move in sequences of uncontrolled, unbalanced, flailing limbs followed by scenes of sudden stillness.
“Awakenings” is virtually an academic study of a traumatic catatonic state of mind and body, brought to life through haunting music, gesticulation and gesture. In order to gain a better appreciation of this challenging subject, it is advisable to read the programme notes beforehand, or watch the YouTube clip, Awakenings Unmasked.
We were then treated to the world premiere of “Monolith” choreographed by Tim Rushton with a stunning score for string quartet by Latvian composer Peteris Vask.
The set design is based on five huge “stone” towers, representing, say, the majestic power of Stonehenge or a medieval church - the artistic creation of ancient man.
Combining moments of extreme physicality interspersed with the flowing lyricism of the music, Monolith is arresting and dynamic from the perspective of dance accompanied by solo strings oozing a sense of vulnerability. The impressive orchestral performance tended at times to be distracting through the sheer pace and verve of the musicians, especially poignant during the "double-stopping" attack of the solo violin.
In contrasting style and tempo, “Cardoon Club” by Henrietta Horn is an attempt at visual decadence – shimmering kitsch and steel drapes adorn a rather soulless ‘60s dance set, designed, perhaps, to titilate after the meditative purity of the first two works.
This fun, funky, retro approach may be successful with younger members of the audience but I'm afraid that the total lack of cohesion and repetitive strutting poses left this long standing Rambert fan feeling rather uninspired.
Overall, did the live music and dance gel to create a visual journey capable of seducing the audience into a state of heightened awareness? Never mind the unravelling of any hidden meanings and impetus behind the choreographers’ desired objectives. I think not. Rambert Dance it would seem is running the risk of becoming too experimental at the expense of a reputation to transfix, inspire and enchant.
The Awakenings trilogy of new works is certainly dramatic and inventive with scintillating live music, but lacks heartfelt emotion and - quite simply - Wow factor.
Awakenings Tour 2011 - Show times:
Edinburgh Festival Theatre, 16 - 18 February
Eden Court, Inverness, 22 - 23 February
Royal & Derngate, Northampton , 2 -3 March
Clwyd theatre, Mold , 16 -19 March
Theatre Royal, Brighton , 23-26 March
Theatre Royal, Nottingham, 6-8 April
Theatre Severn, Shrewsbury, 12-15 April
Sadler's Wells, London, 24-28 May.