Rambert2 Triple Bill and Rambert’s Ghost Dances at Sadler’s Wells

Posted: November 11th, 2018 | Author: | Filed under: Performance | Tags: , , , , , , , , , , , , , | Comments Off on Rambert2 Triple Bill and Rambert’s Ghost Dances at Sadler’s Wells

Rambert2  Mixed Bill and Rambert’s Ghost Dances at Sadler’s Wells, November 6

Rambert2

Joshua Barwick and Salomé Pressac in publicity shot for Rambert2 (photo: Nicholas Guttridge and Benoit Swan Pouffer)

Rambert 2 is, according to the publicity surrounding its launch, the newly-formed junior company of Rambert, made up of 13 dancers (nine of whom were trained in the UK) from an audition of 800 international applicants. The name relates it to companies like NDT2 or Ailey II but its reality is different. The dancers’ contract is part of an MA in Professional Dance Performance accredited by Kent University which makes Rambert2 more like a conservatory company on the model of Laban’s Transitions or London Contemporary Dance School’s EDGE except that it has the advantage of being able to use the name of a prestigious company in its advertising and, with support from the Linbury Trust, is offering the students a tax-free bursary to cover tuition fees and the equivalent of a London Living Wage. The competitive stakes in the city’s postgraduate dance ecology have been raised. The MA lasts 15 months, and the Rambert School is already posting for auditions in early 2019 for the next cohort with a new lineup of choreographers; the ‘newly-formed junior company of Rambert’ is set to become an annual event.

The project was devised and planned by Rambert’s executive director, Helen Shute, its then artistic director Mark Baldwin and Rambert School principal, Amanda Britton. Three choreographers were chosen for the first Rambert2 cohort: Rafael Bonachela, Sharon Eyal and Benoit Swan Pouffer, a former dancer with Alvin Ailey and for ten years the artistic director of New York’s Cedar Lake Contemporary Ballet. With Baldwin’s departure around the time of the first auditions, Shute invited Pouffer to oversee them and subsequently appointed him as guest artistic director of the main company while ‘a thorough and rigorous process’ is in place to find Baldwin’s successor *. Since Bonachela and Eyal each provided a seminal work from their existing repertoire, Pouffer found himself in the fortunate position of being able to handpick 13 dancers from 800 on whom to create a new work.

Like the publicity surrounding it, Rambert2’s program at Sadler’s Wells (who commissioned this inaugural season) blurs the distinction between a repertoire and a conservatory model; the former is based on the impact of the program while the latter aims to give all the dancers a chance to experience each choreographer’s work. Bonachela’s E2 7SD is a duet and Eyal’s Killer Pig is set on seven dancers; Pouffer obliges by making Grey Matter the only work that uses all 13 dancers, but it is the impact of the program that prevails on a durational, visual and aural level.

The program is a display and celebration of youthful energy that devours all in its thirst for experience. Grey Matter may be a lament for memory loss but the synapses around the brain malfunction — personified by Faye Stoeser — are still fully charged and sensual, and go about their cerebral tasks costumed by Cottweiller to the throbbing Ghettofuturism of GAIKA. E2 7SD is a love-hate duet — wrapped in Oswaldo Macia and Santiago Posada’s sound sculpture and lovingly re-staged by Antonia Grove — between a towering Conor Kerrigan and a feisty Aishwarya Raut that has the rawness and angst of teen spirit but ends up oddly sentimental, while Killer Pig, at a relentless 45 minutes, is a visceral paean to club culture and sensuality engulfed in a body-beating aural collage by Ori Lichtik. I saw it some years ago in a nightclub in Tel-Aviv and its sinuous, androgynous energy completely silenced the capacity clientele.

Killer Pig might have worked better if it had closed the evening after E2 7SD but instead it was preceded by Christopher Bruce’s Ghost Dances performed by the main company. A protest against the brutal Pinochet régime in Chile doesn’t fit between a Hackney Road postcode and a Tel Aviv nightclub, either in spirit or in choreography. For some undisclosed reason the classic work is being withdrawn from Rambert’s repertoire two years after reviving it and the company has chosen this inaugural season of Rambert2 to cast it off. There’s perhaps a coded message in the composite photograph by Pouffer and Nicholas Guttridge on the company poster and program cover. In the shadowed background stands Rambert’s Joshua Barwick as one of the dead in Ghost Dances. He has lost his skeletal mask that lies in the foreground by the statuesque pose of Rambert2’s Salomé Pressac wearing, we are told, Simon Albo. Her front leg has been photographically distorted and her thigh retouched to generate a muscular anomaly but her outstretched arm and upturned hand are aligned to give the mischievous impression of pushing Barwick defiantly off the stage.

*Pouffer was appointed Artistic Director of Rambert on December 12, 2018.