Scottish Ballet Triple Bill
These pieces substitute a reliance on overt narrative for the atmosphere created by the sheer thrill of movement.
| 16 May 2006
If you're after variety, Scottish Ballet has it in spades, ably demonstrated in their latest triple bill. Balanchine's Episodes is stripped back and precise, a half-hour of beautifully synchronised near-contortion with elements of mime. Forsythe's Suite from Artefact proves the company's technical accomplishment. Movement is unrelentingly fleet and emphasises mid-air beating. It's strangely reminiscent of a semaphore class, or, whisper it, a Fascist rally, with its obediently syncopated handclapping. Elsewhere, the epic quality of the ensemble choreography gives way to some tender partnerings. Petronio's MiddleSex Gorge is more anatomical than it is geographical: full of thrusting, caressing, unashamedly physical movement. Set to the pounding drums and bass of top-volume Wire, it explores, through strong male choreography, sexual tension and the relations of power. The lighting steams things up with physiques subjected to a dramatic contrast of light and shadow. This piece, as do the others, substitutes a reliance on overt narrative for the atmosphere created by the sheer thrill of movement. [Jenny Peebles]
Festival Theatre, Edinburgh, March 30 to April 1