The Stage

Solo/Shift/Two/Push

Published Thursday 6 October 2005 at 13:40 by Katie Phillips

How to describe the phenomenon that is Sylvie Guillem? Her body - long, lean and sinuous - is like an elastic band. It is ridiculously flexible, stretching into unbelievable positions, yet tough and quick. She flicks a leg up to her ear before snapping back into shape. Even though the first piece, Solo, in the mixed bill is underhand and throwaway, Guillem is effortlessly graceful, illuminating and utterly brilliant. She can flabbergast her audience by simply pointing her foot, lighting up the stage with her overpowering presence as well as any of Michael Hulls’ slices and pockets of light and shadow.

Choreographer Russell Maliphant first introduced prima ballerina Guillem to his world of contemporary dance two years ago. Although her repertoire is vast and varied, it is still surprising to see her launch herself into a Maliphant-capoeira-flick. The intimatcy and chemistry in their contact work is electric. In Push, Guillem curls like a cat, folding into him, allowing herself to be carried on his shoulders, and even takes a turn to support his weight.

In her solos Guillem moves like a rhythmic gymnast in a slow motion routine, dancing with an invisible ball. With whipping arms that blur into the lighting, she flicks and sashays, hotting up the energy with Hulls’ reflective lights and the rhythms of a Spanish guitar.

Equally ablaze is Maliphant’s solo to warm, deep bass strings, soft lighting, and slow, stunning movements. He is framed by his own shadow, performing a quartet with himself.

It is a fairly static programme of works, not a flashy showing off of these two ballet celebs, who have so many fans that instead of the usual seating set-up, the stalls have been removed to allow more worshippers to crowd into a mosh pit of adoration at the front of the stage. It is cool, contemporary chic performed by deliriously good dancers.