The stage is shadowy, and apart from the music the only sustained noise is made by Marín – dancing a brief zapateado solo, drumming with his hands, or performing the final extraordinary crucifixion scene…
Despite a few comic moments, the impression is that they’re actually taking themselves very seriously, but they don’t get anywhere near transcendence.
The four horses in Bartabas’s Golgota are handsome, glossy and very patient. They need to be, given how much heavy-handed symbolism goes on around their well-trained heads. This equestrian dance production is a strange mixture of pompous theatre and horsey skill.
It’s not often that you see a total of 26 legs on a dance stage, but only three people. Then again, Golgota – which takes its name from the site of the Crucifixion – is a very unusual show indeed.
"Even though the movement language is different, the common ground between the way Richard choreographs and the Kathak style is that they both put great importance on musicality..." Continue Reading
Music from Mark Lanegan to Mozart drives choreography that ranges from sinister tap-dancing to brutishly erotic duets.
The show — the biggest celebration of Plisetskaya’s life outside Russia — featured her favourite roles and works created for her
. . . what’s incredible is that you can see the language running through their bodies, their gestures like utterances, with speechlike rhythms, rise and fall, statements and questions, garrulous runs and pauses for thought.
A series of tautly choreographed tableaux unspools, shot through with haunting snatches of music
De Keersmaeker’s movement vocabulary is, at its best, both ingenious and subtle, and at moments she conjures images that illuminate the bare stage.
But it’s by starting out with the poetry of confinement that Brew draws us so powerfully into his story.
…the final sequence as he is hauled aloft feet first into the air, arms outstretched, is both crucifixion and resurrection combined in one indelible image. Ecce homo. Behold the man.