To watch 41 very young – and very talented – dancers executing Sharon Eyal’s exacting and precise choreography is to share a life-affirming and exhilarating experience with the rest of the audience and the young company themselves. The Israeli choreographer and Guest Artistic Director at Sadler’s Wells has created a dazzling work for, and with, members of the National Youth Dance Company. They move so seamlessly together that they seem like one coiling, shimmering organism, clad in tight, shiny black bodysuits and boots (the costumes are Eyal’s concept too), their hands and faces caught in the chiaroscuro of Alon Cohen’s stunning lighting. All this is driven by the insistent techno track created by Eyal’s long-time collaborator and pioneer of Israel’s techno scene, Ori Lichtik.
If you want to introduce your child to the magic of live theatre, then the captivating combination of physical dance theatre and brilliantly imaginative staging with which Yasmin Vardimon and her company weave the story of Pinocchio should leave any theatregoer, new or experienced, eager for more.
If that title sounds ominous, Shechter told me in interview: “I wanted to capture a sense of our time…that out-of-control feeling that things are coming to an end. And how can this have a happy ending?” * Plus, in a programme note on what he does – or does not – expect of his audience: “It’s about what is happening to them in their head, how they feel, [not about getting] it right in some way.”
To Powell and Pressburger go the plaudits for moulding Hans Andersen’s fairy tale with its hard magic into an allegory of art versus life. To Bernard Herrman the plaudits for writing film music that brilliantly conjures mood and emotion, atmosphere and character. And to Matthew Bourne with his creative team, led by designer Lez Brotherston and composer/orchestrator Terry Davies and with his close-knit family of dancers, goes the glory for taking all this magic and distilling it into two hours of transcendent storytelling that ravishes the senses.
Ballet Rambert’s new production – with 50 dancers and 70 musicians from the Rambert Orchestra onstage, soloists and chorus from the BBC Singers, and designs by Pablo Bronstein – marries dance to the soaring music of Haydn’s mighty oratorio and its beautiful libretto, taken from Genesis and the Book of Psalms, as well as Milton’s Paradise Lost. It comes to Sadler’s Wells this month after a hugely successful premiere at Garsington Opera in July.
These November performances of The Creation are elegantly timed for Jewish lovers of music and dance, as in synagogues worldwide we have just recently begun reading the Torah from the beginning again, with Genesis and the story of the creation.
I rounded off October by spending two consecutive evenings being excited and challenged by the work of two talented young Israeli performing artists, both with so much to offer. Niv Petel is heartbreaking in Knock Knock, his beautifully nuanced account of a devastating situation faced by too many Israeli families, and Hagit Yakira attracted full houses for her exciting new work Free Falling.
Petel is an extraordinary physical actor, wonderfully convincing as a devoted mother whose son is the centre of her life. An engaging and important contribution to our understanding of life in Israel. And at Sadler’s Wells last week, dancer/choreographer Yakira presented four talented performers falling and recovering again as they take what life throws at them. Supporting each other, their eyes and faces as important as the rest of their bodies as they look out for each other. In a beguiling add on, three more dance artists responded to Free Falling – including full audience participation on the studio floor, everyone linked in a joyful dance – a sort of Hora at Sadler’s Wells, which makes Israeli dance so welcome. Niv Petel and Hagit Yakira are certainly names to watch.
by Judi Herman
Hagit Yakira attracted full houses for her exciting new work, four talented performers falling, recovering and supporting each other, as they take what life throws at them. Their eyes and faces are as important as the rest of their bodies as they look out for each other. Yakira says she invites her audience “to experience the unravelling of real life experiences”. What I loved, though, was the synthesis – the building up of the elements that make up this seemingly simple but actually complex work performed on a vast bare stage.