Impressing the Czar

Published Wednesday 22 August 2007 at 14:15 by Brian G Cooper

A pick and mix of multi-genre choreography by William Forsythe performed to near perfection by Royal Ballet of Flanders, this beguiling postmodern masterwork contrasts and interweaves traditional contemporary styles to question the very meaning of dance itself.

Parallel movement universes co-exist, notably the Potemkin’s Signature first sequence. Its Catherine the Great reference is reset in quasi-Renaissance court - bizarre figures inspired by Beethoven move every way from pavane to Balanchine and all points beyond.

St Sebastian poses in a white skirt, crinolined Spanish ladies proudly preen, and Agnes and partner proclaim 2007 air traffic instructions.

In the Middle, Somewhat Elevated sees eight dancers in coral green costume most satisftingly execute sharply precise, superbly timed movements to Thom Willems’ harsh electronic score.

Golden cherries form obscure St Sebastian reference, made explicit by quivers of arrows in The House of Mezzo-Prezzo. A hysterical Agnes auctions artefacts circled by gold lamé-suited dancers in reverie, part decadent Berlin and part win a fridge TV show.

For Bongo Bongo Nageela finale, the entire 40-strong company gives a bravura display of tightly disciplined ensemble action, intercut with amusingly inventive free-wheeling solo and group pieces, again to Willem.

Male and female alike, clad as schoolgirls in white blouse and dark blue pleated skirt, they advance en masse as St Trinian’s phalanx, move en bloc as girly automata, and create tight lines and circles. Individually they twirl and turn, bend and leap, and fling up their skirts, with the principals peforming witty spins. St Sebastian, motionless but clasping his arrow, is the centre. Wheeling around, the girls resurrect him by their overpowering energy.

It is a resounding finale to this compelling but highly ambiguous work, much enlivened by Michael Simon’s sumptuously odd sets and Ferial Simon’s eye-catching costumes. Certainly Forsythe, artistic director Kathryn Bennetts, and the astonishingly energetic company create a triumph - albeit one of elusive meaning.