Dance

Light and humours sums ups the Royal Ballet’s new programme. The double bill featuring Jerome Robbins’ Dances at a Gathering and Frederick Ashton’s The Dream provides ample entertainment for audiences coupled with elegant dancing. Although The Dream is a firm favourite of the Royal Ballet, Dances at a Gathering saw its return to the Opera House stage after 30 years. The shifting relationships displayed to ten solo piano works by Chopin allowed the cast to display mischievous characters with virtuosity.
The female cast in Robbin’s choreography, including famed dancers such as Tamara Rojo and Sarah Lamb, they portrayed great sensitivity but it was Lauren Cuthbertson who was a vision in Green. Cuthbertson’s attention seeking solo, in which a serious of men followed her around the stage, was both theatrical and fresh. With no touch between the Cuthbertson and her suitors she still managed to create an intimacy with a spring like quality.
This lengthy work displayed Robbins’ skill at fitting movement to a musical phrase. Although there may have been an urge for the pianist, Philip Gammon, to allow his first class abilities to compete with the movement, this was not the case as the notes provided a delicate framework for the steps and not an artistic challenge.
The final group dance portrayed Robbin’s contemporary jazz style as the dancers performed steps verging on circular springs and bounces rather than typical balletic static poses. The group work displayed the Royal Ballet’s ability for extremely tight unison as well as expert stage placing and patterns – the true key to Jobbins' choreography.
Based on Shakespeare’s A Midsummer’s Night Dream Ashton’s The Dream whirls through this scenario with break neck speed! It has to be said that Michael Stojko as Puke stole the show. His witty portrayal of the Fairy King’s right hand man was excellent and expertly united with the choreography. Leanne Benjamin’s portrayal of Titania was extremely passionate, making a truly believable reunion pass de duex with Edward Watson.
The fairies provided a frenzy of activity whenever on stage, often making the stage feel a little on the small side. With their classic ‘white act’ choreography the dancers barely put a foot wrong, showing the companies real strength. The length of the male dancers sideburns perhaps overshadowed the role of the mortals, but they managed to add heart-warming comedy throughout.
These two works were surprisingly complementary and offered some of the lesser known dancers a chance to shine. The lighting design for Dances at a Gathering boarded on patchy in places, highly noticeable due to the lack of set but The Dream provided a strong collaboration between all artists involved. A must see programme for fair weather ballet audience who enjoy virtuosity and a laugh.