There is also the gentler gift of Ivan Putrov, a former Royal Ballet principal, who conceived Men in Motion and whose epaulement and arabesque are of the purest beauty. He drifts sublimely through Ashton’s Dance of the Blessed Spirits
The programme was rounded off by Russell Maliphant’s AfterLife (Part One). This quietly spellbinding solo for the exquisite Daniel Proietto was the most engaging piece in an underwhelming night.
New choreography, new choreographers, are the ozone that must invigorate the air, the life, of a major ballet troupe, and stir the dust that the old repertory generates – on dancers and on audience attitudes.
With Ithaka, Ivan Putrov has created a ballet in which everyone loves Ivan Putrov.
It’s hard producing a good ballet show. There’s more to it than some young men think.
Ten dance makers have participated in this season’s Draft Works, the forum for new work supervised by Wayne McGregor, the Royal Ballet’s resident choreographer. Given that seven of the choreographers are company dancers, there’s an unsurprising tilt i…
Even if the Russian visitors had danced, I doubt they could have outshone Daniel Proietto whose mesmerising performance of Russell Maliphant’s Afterlight was a welcome reminder that ballet does not have a monopoly on physical virtuosity.
This is a slender evening but it’s also one of real intelligence and surprising moments of passion. And it makes a pretty wonderful case for the male dancer.
The earliest piece on show was Fokine’s 1911 Le Spectre de la Rose, in which a pink-petalled Igor Kolb gave us pot pourri when what we really wanted was incense and opium. None of the ballets, though, could match Russell Maliphant’s contemporary dance, Afte…
The Royal Ballet’s First Drafts makes an appealing evening of new work… The dancing is fresh, with a sense of individual artists finding their voices.