Dextera Choreographer: Sophie Laplane
Dextera Composer: W.A. Mozart
Elite Syncopations Choreographer: Sir Kenneth MacMillan
Elite Syncopations Music: Scott Joplin & others
How precisely does one celebrate fifty years? By not simply paying tribute to your rich tradition of ballet but by evolving, showcasing how far as a company you have come. What’s more, you celebrate by showing us what can be done with another fifty – I only hope I kick around long enough to catch it. For now, though, Scottish Ballet’s Spring sets up what is likely to be a stellar anniversary.
Beauty personified is blown across the theatre in the mesmeric movements and colours of Sophie Laplane’s Dextera, our first piece. It’s a union fit for a celebration – Mozart’s various symphonies give the Orchestra a chance to innovate, re-imagine and fuse the classic with the freshness of the troupe’s expertise. Partnered with the maestro’s music, a unique choreography sees traditional ballet stirred in with abstract expression. It tackles a trend in the ballet circle, gender is explored throughout Dextera – not only the obvious but woven into the subtle, sublime and (one day) commonplace.
Upon high, a danseur is ‘gifted’ a single red glove, though not just any red. The glove is that shade which strikes a cauldron of intense emotions. It’s a powerful tone, controlling, dangerous and yet alluring. Upon fitting, the rapid movements involved are sharp, pointed and you can feel the momentum carried into the toes. These controlling hands carry the danseuses onto the stage. Like puppets, they are poised precisely as their male counterparts instruct. We’re guided through the more traditional stances of which most will be familiar, such as the plié but also stretched into the surreal everyday objects. When suddenly – another danseur is hoisted onto the stage in a similar manner to the women. Outfitted the same, he is manoeuvred no differently to the rest of the troupe.
As Laplane’s Dextera unfolds, the symbolism of control begins to birth a hope of equality of blindness in the casting. For just as the danseur in the role of the women carries himself strikingly, so too do any of the danseuses in reverse. Almost as if these positions are achievable irrespective of gender? As they obtain the red gloves themselves, through fooling, flirting or plucking – the comedic intensity grows. An organic kaleidoscope of limbs twisting, convulsing and as dance itself, always moving.
By the triumphant end, a shower of colours erupts over a costume piece by Elin Steele, whose creation deserves merit. Just as its musical partner Mozart, the tonal changes from bleak darkness to the glimmers of hope this is a piece which Scottish Ballet are no doubt proud to launch their 50th year with.
Choreographed by Sir Kenneth MacMillan, our second piece – Elite Syncopations continues with sparkling characterization, vivid costumes, all strung together with the carnival ragtime band. Older in conception, its bold use of colours amidst jazz styled 1920s motif places it alongside Dextera marvellously.
Humour as a ballet tool is nothing new. There is, however, such a delicious Scottish twang that it could be pulled off by none other than Scottish Ballet themselves. As the chaos of Dextera unfolds, the Benny Hill chases and exits are only eclipsed by Elite Syncopations segment ‘Tall and Short’. Performed by Eve Mutso and Jamiel Laurence you will find yourself in just as much awe as you will in stitches. Crafted in a silent era fashion, the comedic dance sees play with balance, height and expectations.
Scottish Ballet’s Spring proves that they stand on a world stage of ballet. We knew this. What they prove is their innovation. Their ability to sustain freshness, all the while providing an exceptional production is what sets them apart.
Review originally published for Reviewshub: