That said, the work of Russell Maliphant has always made a powerful case for the abstract. With no story to tell, abstract choreography needs to capture the eye and trust that the mind, and even the heart, will follow. Maliphant is good at this. Very good. ‘Broken Fall’, a 2003 piece created with for Sylvie Guillem and the BalletBoyz, was a breathtaking blend of dance and daredevil athleticism.

In contrast, the emotional impact of this evening’s offering, ‘Silent Lines’, is calming rather than thrilling, which in itself makes it something of a bold piece.

Subdued, dappled lighting plays across the bodies of the five dancers, to a soundtrack of a slow, monotonous drone.  Movement, as it will be for the duration of the piece, is mellifluous, slowed, graceful and deliberate. The effect is as if watching an underwater contemporary ballet – one is drawn in and soothed, almost a meditation for the eye.

From the opening pas de cinq, we move into other configurations; pas de deux, solos, occasional threes and twos. The music gains rhythm and a little tempo. From the floor, projections of concentric circles, often framing and centering the movement, pulse outwards or inwards (creating a fascinating optical illusion of the dancers growing or shrinking, according to the flow of the pulse).

The circle is the dominant motif of the choreography, from the ring-a-roses patterns of the opening, to the ‘slowed motion’ of individuals. Just like the soundtrack, the choreography samples – deliberately, explicitly – not just from the canon of dance, but from other physical art forms. Maliphant references Capoeira, the Brazilian martial art (highly apt, since the plantation slaves who developed it concealed its true purpose by disguising it as a form of dance). Elsewhere, there are hints of the dervish or the spinning Kathak dancer (though always at this gentle, considered pace).

Maliphant eschews the dazzling athleticism of earlier work. ‘Silent Lines’ is a reflective study of the human body in motion, with few lifts or leaps in evidence. Indeed, there is a notable paucity of physical contact, even in the pas de deux. At one point, the music seems to sample the Gotan Project and one cannot help but yearn for some closer engagement between the two men on stage. (My imagination turned in vain to that marvellous, man-to-man, tango in Carlos Saura’s movie). Silently, separately, stage left and right, the dancers shadow each other’s movement, but hold their lines. And perhaps that is the point – communication but also isolation. Only at the opening and finale is there a sense of human connectedness.

Stevie Stewart’s costumes are simple, the clean lines and absence of colour complementing the rather beautiful and intriguing lighting design (by Maliphant and Panagiotis Tomaros – Tomaros also designed the video projections).

At the risk of sounding like Emperor Joseph II (who infamously accused Mozart of writing “too many notes”) I will say ‘Silent Lines’ felt about 10 minutes too long. The magical trance into which it had lured me could not quite hold me to the end. Still, quite a treat.

The Russell Maliphant Company bring Silent Lines to The Lowry, Salford Quays on 29 May 2019. For full tour details visit russellmaliphantdancecompany.com

Interview with choreographer Russell Maliphant.

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Can you tell us a bit about your new work Silent Lines?

Silent Lines is a work for 5 exceptional dancers – with projections used to create a fluidly shifting atmosphere using animations by Panagiotis Tomaras. The music has been created by Dana Fouras and passes seamlessly from classical to electronic and the costumes have been created by Stevie Stewart of Bodymap.

What was the inspiration behind its creation?

The intention for this piece was to use some of the elements I am often exploring behind the scenes that effect movement and use those elements to create an aesthetic language. In this way, ideas and images from inside the body were projected to create spaces and textures within the stage environment to be manipulated by the dancers’ movement.
Their movement language has a shared ground but is also unique and personal to each dancer and their participation was another inspiration behind the project.

Why did you choose to work on this with video artist, Panagiotis Tomaras?

I had already undertaken a few days of research and development for this project when I met Panagiotis. I knew I wanted to use projected images and when I met Panagiotis   I believed he would be able to understand what I wanted and also bring his attitude and eye to the table. 

How does Tomaras’ work enhance the audience’s experience of the dance?

It’s hard to separate the dance and the image that the audience see. In creating, we are working with where the elements meet together. The light and the movement are often created side-by-side and inform each other. The light might transform the movement by giving a texture or setting it within a visual environment that’s fluid and dreamlike.

Why is the impact of lighting so central to your choreography?

Because it’s another fluid, moving element that can have a subtle or enormous impact on the stage space and the image of the dancers within that space. It can highlight or conceal choreographic elements and transform the apparent environment.

What drew you to research anatomy, biomechanics and the body’s fascial system?

I have had an interest in anatomy since I first experience an injury and felt relief from seeing an osteopath. They gave me information about my body that I didn’t have before (for example, one leg longer than the other, one hip higher and rotated forward or twisted to the left etc. Rt sidebend in the lumbars and left sidebend in the thoracic spine – scoliosis) Also from seeing some good masseurs I realised how much better my body could feel when worked on effectively. I wanted to know why, and how so that I could begin to apply some of that information to my practice and thereby improve the balance of my body for movement. That lead me to a ‘foundations in bodywork’ course and then training in the Rolfing method of Structural Integration, which has a particular focus on how the  fascial system effects the body’s structural balance and movement patterns.

What fascinates you most about experiential anatomy?
 
The way it influences and alters movement flow and connection or co-ordination patterns.

Knowing something intellectually might not make the same changes, but exploring connections physically seems to shift something about inherent patterns of movement and can fill in blank areas of proprioceptive understanding and give more choices about the subtle elements of how a movement might be carried out – which for me is a very choreographic concern.

How has this influenced your work as a choreographer?

It has influenced my way of seeing movement and therefore what I find myself digging down into. In this work in particular, it has also influenced the aesthetic of Silent Lines through the visual projections into the space or onto the body, as a lot of the images are drawn or inspired by images from the internal environment of the body (relating to the internal structures and processes of the body).

Outside of work, has it influenced you in any ways personally?

I would find it hard to know where what I think about professionally, is not what I think about personally – it influences and infiltrates how I dig the garden or brush my teeth, or how I ride a bike at times

Are there any other art forms you would like to incorporate in future work that you haven’t embraced yet?

I have very rarely worked with a set designer and would love to have more opportunities for that. 

What do you hope audiences will take from Silent Lines?

I hope that they will be transported for a time and that images or moments that they witness will remain in their minds for some time.

The Russell Maliphant Company bring Silent Lines to The Lowry, Salford Quays on 29 May 2019. For full tour details visit russellmaliphantdancecompany.com

Read our interview with choreographer, David Bintley.

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Inspired by the Beatles’ 1967 album Sgt Pepper’s Lonely Hearts Club Band, the production takes the well-known songs as its start point but then expands the music and dance into unexpected directions with new composition and choreography.

Pepperland was critically acclaimed when it premiered at the festival but Morris, one of the world’s leading choreographers and artistic director of New York based Mark Morris Dance Group, admits he was unsure about the project when he was first approached.

“It was Sean Doran, who was curating the festival and who I’ve known for a very long time, who asked me. I thought it was very surprising because it was kind of short notice and it’s not a project I would have thought of on my own. I took some time to think about and decided there was enough interesting information and potential excitement to go ahead with it.”

The piece was actually commissioned on a slight misunderstanding because Doran was asking a number of artists to create pieces for individual tracks from the album – but Morris thought he was choreographing for the entire album.

“I didn’t understand that,” recalls Morris. “I thought he meant the whole thing but then I learned later that he meant different tracks for different people but by then Ethan and I had decided on about six numbers to do. It wouldn’t have been that interesting for me to do just one song.”

Working with composer Ethan Iverson, Morris created a piece with new arrangements of Beatles classics Sgt Pepper’s Lonely Hearts Club Band, With a Little Help From My Friends, A Day in the Life, When I’m Sixty-Four, Within You Without You and Penny Lane as well as original composition.

Morris was determined to give audiences something unexpected but he did admit to some nervousness about how the interpretation would be received in the Beatles’ home city.

“Every single person who lives in Liverpool is related to or went to school with one of the Beatles so they are all experts in all things Beatles,” he laughs. “I was ‘I sure hope they like it – because if not I’ll hear about it!’

“I had no clue if it was going to work or not. We put it together very quickly because it was added onto all the work we already do all of the time – touring, rehearsing, performing – and then we added on this project.

“And we were like ‘Can we get this done in time? Can we get the rights to the music and choreograph and compose and rehearse and design all this in the very short time we have?’ So I was very relieved to have finished it in time to perform it and then was doubly happy that it was successful.

“But if they had wanted a trip down memory lane by an English person then they wouldn’t have asked me! That’s not the kind of stuff I do. I think Sean knew what he was getting into when he asked me.”

There was an element of personal memory for Morris though – as he actually saw the Beatles performing live.

“It was the last tour before they stopped touring. I lived in Seattle and it was about 1966, I was like ten, and I saw them with my sisters and a bunch of their friends and it was a screaming nightmare! I knew their music from the radio and went with my sisters thinking it would be fun – but it wasn’t! It was crazy. I think they stopped touring because nobody was listening to them, they were all too busy screaming!”

But a year later the Beatles released the iconic Sgt Pepper – an album which Morris found fascinating to take as inspiration.

“This album was never meant to be performed which is interesting,” he says. “It was unperformable – and that was one of the reasons I chose to do it. I only work with live music, I wouldn’t dream of working with recorded music, so it had to be a completely different take on the album.

“It was the first of its kind – it’s fabulous and very varied with a short attention span. The Beatles were very young and they were thinking ‘let’s try out this and this’. It’s a shopping trip of a composition – there’s stuff from every aisle.”

Armed with the album, long-term collaborators Morris and Iverson set about creating a show which would take the Beatles’ music and give it a new lease of life. Morris, who launched MMDG in 1980 and has created nearly 150 works for the company, ensures live music is at the heart of his work so it was imperative they didn’t just reproduce the album.

“I do a lot of research on any score and Ethan also loves that so we went deeper into the history and the background of the influences,” recalls Morris.  “Also the album itself is only 40 minutes long so we substantiated it with the music that Ethan wrote. So there’s new music within it and new ideas about music.

“The cultural research we did meant we came up with this particular show. For example there’s the Indian music on Sgt Pepper. That album may have been the first time I heard Hindustani influences in music when I think about it. I was listening to a lot of different music from very young but that may be the first kind of semi-Indian thing I heard.”

Pepperland features a chamber music ensemble of voice, theremin, soprano sax, trombone and two keyboards. The production has been described as ‘witty’, ‘humorous’, ‘joyous’ and ‘eccentric’. And its sixties-influenced brightly coloured costumes created by Elizabeth Kurtzman ensure it’s an eye-catching tribute to the period in which the Beatles became international pop idols.

Since being performed in Liverpool nearly two years ago, Pepperland has been staged across the United States of America and in Canada. And this spring it comes to the UK and Ireland on a six-week tour presented by Dance Consortium, a group of 20 British theatres which aim to stage and promote international contemporary dance.

Beginning in mid-March, the tour takes in London, Birmingham, Salford, Bradford, Edinburgh, Canterbury, Cardiff, Plymouth, Southampton, Norwich, Newcastle-upon-Tyne and Dublin.

Since its creation, Morris says Pepperland has needed little revision.

“I’ve made a couple of minor changes with things I wasn’t quite happy with but other than that it’s the same piece. I’ve recast it when we are performing it for the six weeks of the tour so dancers can swing in and out of it to make it less pressured on individuals.”

Morris has been hailed as the ‘most successful and influential choreographer alive and indisputably the most musical’ by the New York Times. From 1988 to 1991, he was Director of Dance at the Théâtre Royal de la Monnaie in Brussels and in 1990 he founded the White Oak Dance Project with dancer, actor and choreographer Mikhail Baryshnikov.

He has created works for more than 20 ballet companies worldwide and directed and choreographed productions for The Metropolitan Opera, New York City Opera, English National Opera and The Royal Opera, among others. With a career spanning 40 years and numerous tours of the UK, he has built up a firm following this side of the Atlantic.

“We’ve been going to Britain for more than 30 years and my work is popular there. I’ve been going there for ever and I like it. We haven’t been for a long tour around the Isles for about five years so we’re looking forward to performing Pepperland there.”

And, while the Beatles’ music is its springboard, Morris says audience members don’t need to be Beatles fans to enjoy the show.

“How someone feels personally about the Beatles’ music might make a difference to the individual but my catchphrase is that ‘this piece is for people who love or hate the Beatles’ – I figure that covers a lot of people right there! And then there’s some others in-between who I hope will come and see it.

“And they’ll be surprised by it. If you are going for a tribute show with a cover band playing Beatles hits that you can sing along with – that’s not going to happen. You can do that afterwards in a bar! This show is fully rooted in the interesting and surprising and radical music of this particular album but also that period of popular music in general.

“Nobody else would create this kind of treatment of this album except for me and Ethan and my company. It’s one of a kind and I promise it’s really fun and interesting and entertaining and beautiful – and a bunch of other things!”

Read our review of Pepperland at The Lowry. Visit website for full tour details.

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Morris was commissioned by the City of Liverpool to create Pepperland as a homage to The Beatles’ ground-breaking 1967 Sgt. Pepper’s Lonely Hearts Club Band album. The piece premiered in 2017 as part of Liverpool’s Sgt. Pepper at 50 Festival and is now touring the UK until May.

So, if it is not dance choreographed to the album, what is it about? Well, while it captures the psychedelic mood of the album, the music is an original score by composer Ethan Iverson which is inspired by rather than a cover of the album.

The show opens with an arrangement of Sgt. Pepper, in which baritone, Clinton Curtis introduces some of the personalities from the LP cover. Dancers mimic Shirley Temple, Marlene Dietrcih, Oscar Wilde and Laurel and Hardy. And when we get to The Beatles, there is screaming hysteria.

Morris weaves humour through the piece, which is part nostalgia and part futuristic dream. ‘With a Little Help From My Friends’ is all bounce and playfulness. ‘When I’m Sixty Four’ goes from high camp to a chained can-can to an out-of-sequence kid’s party game gone wrong, as dancers each perform a different routine out of time with the music.

‘With You Without You’ has a more meditative feel. While ‘Penny Lane’, which was not on Sgt Pepper but was originally planned to be, sees the dancers act out the characters in a joyous narrative, inducing the same elated spirit much of The Beatles music still invokes.

All the tracks aren’t there. Most notably there is no ‘Lucy in the Sky with Diamonds’. This is Beatles music, but not as we know it. And when something is so familiar it takes a while to accustom to it sounding different.

That said, the live band is terrific, and Curtis’ rich vocals give the lyrics a fresh clarity. Iverson also uses the haunting sound of a theremin in ‘A Day in the Life’ to give a trippy electronic feel. This, combined with the spinning of the athletic dance is at times literally dizzying.

It all plays out in front of a sparkling foil mountain range and a vibrant background that shifts from emerald green to electric blue, fuchsia pink, and jaffa orange. Elizabeth Kurtzman’s costumes use the same neon palette of The Beatles’ original album cover, creating an explosion of colour on stage. No wonder so many of the cast are wearing shades. It’s bright, sunny and deceptively skilful. A fitting homage to Liverpool’s Fab Four.

Pepperland is at The Lowry on 29 and 30 March 2019 and touring the UK til May 2019. Visit website for full tour details.

Read our interview with choreographer Mark Morris.

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Dame Darcy was first introduced to the company last year as part of her BBC2 show Darcy Bussell: Dancing to Happiness, which promoted dance at all stages of life to help people keep fit not just physically but mentally too.

It was in exploring dance for mental wellbeing that Darcy first met Company Chameleon’s co-Artistic Director, Kevin Edward Turner. During the programme Kevin discussed how dance supported him through his own personal mental health difficulties and allowed him to heal. Darcy also learned about the company’s work supporting young people, specifically a therapeutic dance project for young women referred by a local support group.

Darcy explains: “Meeting Kevin and hearing his passion for Company Chameleon, it was completely clear that there was a particular strength here…an inspiration.

“I like the individuality of the company, they show how expressive and physically provoking dance can be.  I know how effective they are in reaching out and performing to so many communities, especially to the young.  They share my passion for the positive impact that dance can have on people’s lives and their accessible dance style celebrates that dance is for everyone.”

Darcey’s patronage comes at an exciting time for the Manchester-based company, which was set-up by Kevin Edward Turner and Anthony Missen in 2007/8. As part of their 10-year anniversary celebrations, in addition to making the documentary, the team joined Manchester City Council’s cultural portfolio and for the first-time moved into their own dance studio, next door to Rogue Artists’ Studios at the former Varna Street Primary School in Openshaw.

“It was wonderful to work with Darcy on the BBC2 documentary and it’s even more wonderful to welcome her on board as our first-ever patron,” says Kevin. “The timing is perfect. Having recently moved into our own dance studio, a priority is to develop a new Get Involved programme. We want to get more people dancing and seeing the benefit of dance across our home city. Darcy’s association and support will help us do this by increasing our reach.”

That reach is hopefully spreading across the whole city with support from Manchester City Council to get everyone moving and take dance into Greater Manchester schools.

And this month saw the launch of The Saturday Sessions, a new programme of dance classes for young people at Company Chameleon’s studio in Openshaw.

“This is just start,” says co-director Anthony Missen, “We hope to eventually offer all sorts of dance classes for all sorts of people – from performance events, to contact jams, from classes for absolute beginners to classes for professional artists. It’s brilliant to have Darcey on board at the start of this journey and what is a new era for the company as we explore the possibilities of having our own studio.”

Darcy adds: “Company Chameleon’s vision and plans for their new space is inspiring and will enrich the dance community in the North West. It’s a fantastic the Company has the opportunity to develop a hub for creating its international dance productions, as well as a programme of classes and workshops firmly rooted in Manchester.” 

For more detail about Company Chameleon and its Saturday Sessions visit www.companychameleon.com

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That audiences are keen to see Swan Lake is not surprising, Tchaikovsky’s classic has been enchanting ballet fans for almost 140 years. However, Matthew Bourne’s imaginative interpretation is Swan Lake, but not as you know it. If you imagine there are two ways to view swans. One as delicate creatures, gliding gracefully across a lake; the other as wild, powerful birds with the strength to break your arm if they wanted to – Matthew Bourne’s sees them as the latter.

Here the traditional corps de ballet is replaced by a male bevy of swans – bare-chested dancers whose muscles are visible expressions of their strength. Like swans, they hiss and flap – sometimes playfully, but always wild. And although this scene is no longer the surprise it was to early audiences when it premiered in 1995, it is still a striking and enduring image.

Choreographer, Sir Matthew Bourne and designer, Lez Brotherston have re-worked this production for the 21st century. It feels fresh and energised, but it also very-much the same impactful production, that has become a classic in its own right.

In this fairy-tale land all the surroundings are exaggerated and over-sized, while the costumes and movements are pinch-perfect tight. Dominic North’s precision and poise make him the perfect Prince. Regular New Adventures audiences will recognise him as he has been with the company for 14-years and danced many of its leading roles, bringing a strong acting quality to his dance that pulls us further into his inner-struggle.

Dancing opposite him, Will Bozier makes a towering and impressive swan. And he positively sizzles in his leather pants as the stranger (manipulative black swan), seducing every woman in sight, and the Prince, at the Royal Ball.

Alongside this electric passion and high drama, there is also humour in this royal household. A wheeled corgi delights, there’s a cheeky real-life David-esq statue, lively dancing in Swank bar, and a brilliant comic scene with the Queen (Katrina Lyndon) and Prince’s socialite girlfriend (Carrie Willis) in the royal box, challenging royal protocol and the audience’s snobbery. Young princes falling out of clubs worse for wear and being caught by the paparazzi doesn’t have the same relevance now our young Princes have grown, but it still makes for fun viewing.

It’s all atmospherically lit by lighting designer, Paule Constable, who makes good use of projection for the swans in flight and makes Lez Brotherston’s expansive lake shimmer under a full moon.

After 23 years the vibrancy of this once revolutionary production is as mesmerising as ever.
★ ★ ★ ★ ★

Matthew Bourne’s Swan Lake is at The Lowry Theatre, Salford Quays from 20 November to 1 December 2018. Visit website for full tour details.

Read our interview with Matthew Bourne about re-staging his iconic Swan Lake.

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A prince, locked away from birth because of his father’s nightmares, encounters the world. A director in a repressive society unlocks his performers’ imaginations. These are the threads that fed Kim Brandstrup’s imagination as he began to devise Life is a Dream for Rambert.

Brandstrup’s initial inspirations were musical and visual – Lutoslawski’s turbulent music, and images of experimental postwar Polish theatre which, he tells me, ‘became the filter through which I listened to the music.’ The composer and avant-garde theatremakers like Jerzy Grotowski and Tadeusz Kantor all pursued their craft in the grey depths of the cold war. Their access to the wider world was severely restricted, so they mined their own creativity. ‘These artists in the eastern bloc were imprisoned in many ways,’ Brandstrup says, ‘dreaming about the world beyond, yet they did fabulous things. I’m not promoting artistic suffering but, somehow, something wonderful came out of this.’

The archive images that snared Brandstrup included some from Grotowksi’s landmark 1965 production of The Constant Prince. Another Calderón play with an imprisoned hero, it famously ended with his death, undercut by joyous laughter, at once anguished and defiant. This led Brandstrup to another Calderón play, Life is a Dream, and to his frequent design collaborators, the Brothers Quay.

American artists with an eastern-European sensibility, the Quays see the world through a singularly surreal lens. Their films bring inanimate objects to uncanny life; their stage designs edge towards dreams and nightmares. Here, they’ve designed ‘a derelict 1959 rehearsal room,’ as Brandstrup describes it. A director rehearses Life is a Dream, working with three parallel casts. In the second half of the production he enters the story himself.

Costume designer, Holly Waddington became absorbed in both the 1959 setting and the 1635 of Calderón’s play. ‘There is a correlation between the two periods,’ she explains. ‘17th-century dress is really peculiar. We made patterns up from the Victoria & Albert museum, only to realise they were completely unflattering, and not at all complementary to Kim’s movement. We’ve tempered them so that they work for dance and melded them with shapes of the 1950s.’

Waddington also closely observed Rambert’s dancers. ‘Dancers are really specific about what they wear in rehearsal. They’ve arrived at very clear decisions and know their physicality, so we’ve tried to harness that.’ Another breakthrough was her discovery that the V&A had begun to x-ray historic costumes to reveal their construction. ‘You see through intriguing layers of scrim and boning. They’re like ghostly shells, incredibly poetic.’ These images chimed with the skeleton-haunted vanitas paintings of the Spanish baroque, and excited all of the collaborators. ‘This idea of x-raying, excavating the past unlocked something,’ says Brandstrup, ‘about how to deal with the walls of this room – how you could see or get through them, to another time, to the other side.’

Calderón’s tragicomedy, only rarely performed in Britain, is an anguished fairy-tale, a spiritual allegory and a uniquely theatrical metaphor about illusion. How do you convey all that to the dancers, and make it live? ‘Dancers are not actors,’ says Brandstrup, ‘so you have to draw on who they are and how they move.’ He didn’t begin by talking about the play or his ideas (‘it sounds so abstract, it’s patronising’). ‘I feel that everything has to come out of what they do in the room. That’s where it happens.’ And for all his preparation, he says, ‘the most fabulous thing is when someone misunderstands something and completely surprises you. You long for those happy accidents.’

In the first half of the piece, three different casts repeat and mirror the action – something that Brandstrup says he has longed to do, and that fits the structure of Lutoslawki’s fourth symphony. ‘We present all this material in different versions so that you can understand it when it happens in the second half.’ The floor and costumes too are subtly mirrored. ‘We worked with metallic mesh,’ Waddington says, ‘slightly translucent. It will be quite subliminal, but we’re striving for this tilted language – everything’s dreamlike.’

A defining garment in rehearsals was a straightjacket – controlling a character whose impulses aren’t trusted. ‘The process was to distil this rather strange story into physical action,’ Brandstrup explains ‘The straightjacket offered a lack of hands to grab and hold the world. Then suddenly the character is released and wants to seize everything, touches too much. And ultimately waits to be touched rather than touching. You try to reduce it to what can happen between two people, then elaborate around that.’

For Brandstrup, the core of the story is the prince’s arduous journey. ‘There’s something about this man, who’s been restrained for so long and dreams about getting everything he always wanted,’ he reflects. ‘He’s full of feeling, he thinks he’s owed the world. Then he gives it up because he can’t have it.’ It resonates for Brandstrup on both an artistic and personal level. ‘You dream about all the things you could have, but getting them is not always necessary. It’s the dreaming, the desiring that is important – getting up every day to make and find something.’

Life is a Dream is at The Lowry, Salford Quays from 10-12 October 2018.

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