It’s always a pleasure to see the Richard Alston Dance Company on their autumn tour – I’ve been a fan (there’s no point denying it) since I first saw the company in 1998, although I’ve enjoyed his choreography since I first saw Rambert perform Rainbow Ripples back in 1980. The word on the street is that this is his penultimate annual tour before the company closes in 2020 – dark days ahead for contemporary dance lovers; particularly as the current casting of the company has many new fresh-faced young dancers honing their skills, performing great dance and promising even greater things in the future.
Mr Alston introduced the evening with an explanation of the first two items on the menu. Like last year, we began with a curtain raiser featuring young local talent. We watched eight young dancers from Northampton School for Boys performing Lost Child, choreographed by their teacher, Alison Clinton, inspired by the story of Peter Pan. We were genuinely impressed with their commitment, skill and artistry. It was full of character and story-telling, and dotted with many moments of humour; and some terrific leaps too. Above all, you could tell that they really enjoyed it; and that sense of pleasure always communicates itself back on to the audience so that we loved it too. Congratulations team; we were happy to tell a couple of the guys during the first interval how much we enjoyed their performance – and they seemed happy to hear it.
Mr Alston also wanted to explain the thought process behind the next piece, Mid Century Modern. To celebrate his fifty years as a choreographer, this is like an Alston’s Greatest Hits sequence; six excerpts from dances he has choreographed over the years. They’re not in chronological order, they’re ordered to create a contrasting impact. It’s also an excellent way to introduce us to the company, as two of the pieces are solos, another is a duet, and the rest involve everyone.
We started with Fever (2001), a showcase for Elly Braund and Nicholas Shikkis, amongst the very finest dancers performing today. They commanded the stage with their immense control and fluidity; totally engrossed with the accompanying madrigal music. Nowhere Slowly (1970) is Mr Alston’s earliest extant piece of choreography, and features the excellent Jennifer Hayes encircling the stage in a deceptively simple action of dance drama. Blue Schubert Fragments (1972), set to a Schubert Adagio from Death and the Maiden, is a charming piece that suggests how peoples’ lives can be interwoven by the same activity. The excerpt from Rainbow Bandit (1977) was danced in total silence and shows how concentration itself can be beautiful – I would have loved to hear the “Rainbow Chuck Bandit” vocal soundtrack again though! The solo from Shimmer (2004) is a monument to elegance, and a perfect vehicle for new company rising star Joshua Harriette. Finally there was a sequence from Signal of a Shake (1999), one of those crowd-pleasing numbers where the story was told twice – the second time at top speed – to the stately sounds of Handel. The variety of styles and the superb execution made this an excellent opener to the Alston programme.
After the first interval we returned for Martin Lawrance’s new work, Detour. Seven dancers react to the highly percussive soundtrack from Michael Gordon’s Timber Remixed, which reminded me of the sound of helicopter wings revolving continually, more frenetically, until the sound was just an electronic blur. Very exciting and mesmerically beautiful, this demands a lot from its dancers, combining speed with elegance as it hurtles towards its final crescendo. The final coupling of Monique Jonas and Joshua Harriette was mind-blowing, with their almost circus-skill balancing act. We both absolutely loved it. Then it was time for Richard Alston’s 2006 work, Proverb, with its intriguing soundtrack of the repeated line “how small a thought it takes to fill a whole life”, embellished and enhanced so that it resembles some form of Gregorian Chant. I particularly appreciated Peter Todd’s costumes – coloured, textured dresses that had been invaded by black down one side, as though in perpetual half-mourning. The full company of dancers all worked together to create an image of interdependence and harmony; a heart-warming message in these rather fractious times.
After the second interval we returned for another new piece – Richard Alston’s Brahms Hungarian, a sequence of ten dances to the accompaniment of those famous Brahms’ Hungarian Dances but not, as they usually are, played by a full orchestra, but to the plaintive and delicate notes of Jason Ridgway on the piano. This was a fabulous way to end the evening. The traditional Gypsy rhythms inspired some very grand and formal, yet expressive, choreography; and I admired Fotini Dinou’s swirling floral dresses for the female dancers, matched by stark and smart angular jackets for the men. I think this is the closest I’ve seen Richard Alston choreograph something so closely akin to classical ballet, with the girls on tiptoe (they’d be en pointe if they were in the right shoes) and the men supporting the women in an (almost) traditional pas de deux. It was stunning.
With a number of changes in personnel in the company’s line-up (five dancers from last year’s show have moved on, five remained) I feared there might be some “gaps” in this year’s offering, but not a bit of it. The company is as strong as ever and gave us a truly superb night of dance. Congratulations to all!