Rooster has become an extraordinarily popular and iconic work for Rambert. Originally choreographed by former Artistic Director Christopher Bruce CBE in 1991, it was performed here as the finale of three pieces. The Theatre Royal audience rose as one to acclaim the ensemble after a triumphant, exhilarating and sensitive performance to some of the Rolling Stones’ finest early works. In a last moment of silence, Cuban dancer Miguel Altunaga jutted his chin out in a gesture of male bravado and brought the house down.
The night began with Four Elements, commissioned by Rambert from Obie Award-winner Lucinda Childs in 1990, renowned as a pioneer of post-modern dance in America.
Eight dancers, four female, four male, portray ‘Water’, ‘Earth’, ‘Air’ and ‘Fire’ against four huge painted backdrops containing recurring themes of tartans and playing cards, which were reflected in the costume designs. The work although clearly athletic, had the effect of inducing a state of mesmeric contemplation, like gazing at exotic fish weaving through reeds or watching light flicker under the leaves of a tree. During ‘Air’ the four male dancers swept across the width of the stage employing a skipped step as they went which gave the impression that they were barely touching the ground. Often working in pairs the execution throughout was always tight, always assured. Swirling base clarinet notes and repeating cascading piano lines were memorable elements of a beguiling score from Gavin Bryars played by the ever-excellent Rambert Orchestra.
This was followed by current Rambert Artistic Director Mark Baldwin’s piece The Strange Charm of Mother Nature. Inspired by a visit to the Large Hadron Collider at CERN, three sequences danced to Stravinsky’s Dumbarton Oaks, Bach’s Brandenburg Concerto No 3, then Cheryl Frances-Hoad’s Quark Dances portrayed the movement and characteristics of particles racing through the system, the behavior of neutron stars circling and colliding, and the interstellar eruptions from dying stars. Danced against a simple but vividly-lit line of electric blue light that turned either bright yellow or red, the performers explored the magnetic properties of the spaces around them often working in pairs but sometimes in solo. Vanessa Kang in particular exhibited a fluid abandon while under complete control and caught the eye.
Rooster began with its signature song Little Red Rooster. In a cockerel style strut Miguel Altunaga led the male line fabulously in this celebration of stylish and chauvinistic 1960’s male youth. This surely is what dance does best – body language revealing attitude. This was fabulous stuff, devoured by the audience who at once became animated, to some extent released from the more demanding abstractions that had preceded it. Other classics followed: Lady Jane, Not fade Away, As Tears Go By, Paint It Black. I particularly liked Hannah Rudd’s solo for Ruby Tuesday, a moving and poignant expression, before the dramatic closers Play with Fire and Sympathy for the Devil. Sassy, sexy and strongly recommended. ★★★★★ Simon Bishop 31/10/14
Photos by Tristram Kenton
