Last week the Richard Alston Dance Company returned to the Exeter Northcott Theatre to present a triple bill of work, including their new piece ‘NOMADIC’. The night began with Alston’s classic ‘Overdrive’ – lead by the relentless rhythms of the electronically composed accompaniment by Terry Riley, the piece presents itself as a true spectacle of modern dance. Without a sense of narrative, the movement vocabulary becomes the central focus of the work, stylised by linear extensive movements accented by quick flicks and wrapping arms. The journey of the piece is driven by the three female dancers dressed in red; cutting and weaving through their male counterparts they appear to highlight each additional layer brought into the music.
Alston’s use of space in this work is particularly clever; triangular and diagonal formations shape the stage and sequences of shifting running allows the dancers to seamlessly enter and exit the space. The use of speed is also commendable, as we see Alston punctuate his movement with dynamic fleeting gestures and sudden moments of stillness. The dialogue created between the dancers through their actions also creates a visible interpretation of the complexity of the musical score. ‘Overdrive’ is responsive and quick-witted; it highlights the beauty of modern dance through its focus on movement in its purest state, acting as a great showcase of the technical abilities and expressive sensitivity of the Alston Company.
Following this, the company performed ‘Burning’ choreographed by Martin Lawrence inspired by Franz Liszt’s Dante Sonata. The music for this piece was performed live by a classical pianist placed at the back of the stage. In stark contrast to the previous work, the dancers move through a narrative of love and desire. The movement throughout the work was distinctively figurative, showcasing moments of passion through ardent embraces and supportive lift work. However this was accompanied with a lack of real passion that was needed to support and drive such a romantic piece. The technical elegance of the Alston Company still remained prominent throughout, but left much to be desired in such a narrative context.
The final work of the night was Alston’s new piece ‘NOMADIC’, a collaboration with hip-hop artist Ajani Johnson-Goffe, which was accompanied by and explored the soundtrack of electronic gypsy music from the Shakur Collective’s Urban Gypsy album. Interestingly the piece began with four dancers distorting and rippling in an earthy organic way, not seen by Alston before. This felt like a choreographic response to the recent trends in modern dance, particularly the work of Ohad Naharin and Hofesh Schecter. However, classic Richard Alston movement was still visible; elegant lines with quick flurries of footwork and responsive duets brought back previous ‘Overdrive’ imagery. This fused with the more grounded style from Johnson-Goffe created an interesting and engaging piece that left you wondering where the next movement would take you.
The shared importance of rhythm between the choreographers helped to bring the piece together and merge the contrasting styles. During the first half of the work, the music accompanying a soloist cuts into silence, yet the movement drives the work forward and the silence allows the breath of the dancer to become a new percussive beat. The pace and rhythm continues to build and come to culmination through collective unison movements that reflect the hip-hop style of Johnson- Goffe. The vibrant and explorative nature of this work reinforces the versatility of the Alston Company and highlights Richard Alston’s personal choreographic journey in response to today’s industry. ‘NOMADIC’ acted as a great final piece, that helped to ensure an interesting and varied triple bill of work, showcasing and celebrating British modern dance.
Esme Shea, Creative Intern, Dance in Devon
(Photo from the Richard Alston Dance Company website – http://www.richardalstondance.com/)
Review of the Richard Alston Dance Company
