… But The Car Man remains vintage Bourne nonetheless. Like all his works it delivers a supremely and inventively slick entertainment: at its best it also drills down to a hard core of emotional truth.*
The sheer joy bubbling on the stage is infectious and literally spills into the audience as the dancers take to the aisles and invite lucky spectators to dance with them. If you don’t come out with a big, fat smile on your face you are deaf, dumb and blind. In fact…
Enter the world of Mexican folk dance and we’re talking fuchsia socks with pea-green tights, bejewelled jade tunics and hats like bouquets of hydrangeas (and that’s just the men). There are huge, swirling orange skirts and rainbow-plumed headdresses. It’s so undeni…
The drilled ranks of dancers rattling out rhythms against the floor in the opening Mattachine number; the fiesta scenes with their weaving lines of beaming lads and lasses, toe-tapping their way into and out of each other’s arms – these and several other scenes could…
Sue Wyatt will oversee the merger of ADAD (Association of Dance of the African Diaspora), Dance UK, NDTA (National Dance Teachers Association) & YDE (Youth Dance England) into one leading industry body... Continue Reading
Vice Principal of London Contemporary Dance School, David Steele, has been recognised for his contribution to dance education with an honorary degree from Middlesex University. Continue Reading
Like Carmen too, Bourne’s Car Man explores a seething cauldron of sex, subjugation and violence with little attempt at subtlety. But it’s not quite a straightfoward plot either, twisty enough to be exciting and morally ambiguous enough to disrupt simple conclusions.
The Ardani Artists ballet gala brings together an international clutch of top-notch dancers, but instead of the usual short showpieces, it features three contemporary works emphasising choreography above virtuosity or star appeal.
Nevertheless the best has been left until last: Facada, by Arthur Pita, a priceless piece of drollery… The story is given a dark Spanish theme, as if the tale of Miss Havisham had been re-created by Pedro Almodovar, and it is superbly original.
Classical choreographers could learn a great deal from Bourne’s attention to narrative. Programmes for his productions, as often as not, have no synopsis; the story is told, sentence by sentence, paragraph by paragraph, by the dancers on the stage.
But the best performance of the evening is North’s extended sequence in prison and his subsequent escape… This is Bourne at his best.
While The Car Man doesn’t quite reach the heights of Bourne’s monumental Swan Lake, it remains a masterful piece of storytelling. Coupled with Lez Brotherston’s dynamic set design, it’s unforgettable.