The constant stream of swirling emotions and fevered memories makes it impossible to tell whose story is being told at any given time, especially since the whole thing feels like a flashback told in reverse. Or maybe both Rodin and Camille are having simultaneous, deat…
Its [The Rashomon Effect] massed, rhythmic effects and weighty symbolic load share an affinity with Vertical Road, but the piece also taps more directly into the spirit of youth: it has less control but more surprise, and if it starts erratically it ends astonishingly.
You long for the interval. You wonder why music can be so brutalised and so inapt for its task. You wonder what Russian audiences can see in this tosh.
You’d be forgiven for expecting better with this story material. But all Eifman can muster is two hours of vulgarly reductive cliché, in a ballet that must offend lovers, geniuses, muses, sculptors, mental patients and women everywhere.
Eiman’s choreography is dominated by deep squats and splayed legs. A busy ensemble play supporting roles. Whether they’re art students, peasants, cancan dancers or a horde of critics, they treat this as the gurning Olympics.
The most recent in a long line of choreographers creating their own interpretations of Tchaikovsky’s truly iconic ballet score is Jean-Christophe Maillot, who brought his company Les Ballets de Monte Carlo to … Continue Reading
The show is at its best when the physicality is allowed to do the talking. There’s some delightful trick-biking, and fine rope work. Performers prance across the wire apparently unaware of the drop below, even when they are hanging upside down.