{"id":5081,"date":"2015-10-02T10:48:06","date_gmt":"2015-10-02T09:48:06","guid":{"rendered":"http:\/\/www.themanchesterreview.co.uk\/?p=5081"},"modified":"2016-01-23T22:32:17","modified_gmt":"2016-01-23T21:32:17","slug":"dark-arteries-the-lowry-by-elizabeth-mitchell","status":"publish","type":"post","link":"https:\/\/www.themanchesterreview.co.uk\/?p=5081","title":{"rendered":"Dark Arteries<\/em>, Rambert at The Lowry, reviewed by Elizabeth Mitchell"},"content":{"rendered":"

Rambert, ‘Dark Arteries,’ ‘The Three Dancers,’ ‘Terra Incognito’ at The Lowry, September 30 2015<\/p>\n

A word of warning: ever since I saw Mark Baldwin\u2019s \u2018Eternal Light\u2019 aged 15, I have dreamt of being in the Rambert. There was just something about the so cleverly choreographed and very balletic Contemporary dance, with the huge side of emotion from the dancers, which grabbed me then and never left.<\/p>\n

So when I say that I felt utterly let down by Mark Baldwin\u2019s \u2018Dark Arteries\u2019, the opening dance to the evening\u2019s trilogy, my thoughts might be slightly strong. Too abstract yet not abstract enough, it was like a series of moving tableaus that didn\u2019t join up and lacked in spark. The first five minutes could have been cut at no loss to the overall piece.\u00a0 It picked up slightly with a floor partner work section but came crashing back down with a \u2018Liberty Leading the People\u2019-esque group movement that, whilst certainly embodying the uprising of the Miners\u2019 Strike, was almost laughable. Don\u2019t get me wrong, it was danced impeccably (it always is) but the choreography was disappointing, almost stale. The music was the redeeming feature: the Fairey Brass Band did give off an amazingly ethereal feel, almost space-like. Unfortunately, there were times when I did wonder whether I would have preferred to just watch them perform and left the dance to one side. Maybe I was expecting too much from it but I do hope Mark Baldwin\u2019s next work is more reminiscent of his earlier pieces.<\/p>\n

In comparison, the second piece \u2018The Three Dancers\u2019 reminded me exactly why I had fallen in love with the Rambert, with every little detail though out to the last. Choreographed by Didy Veldman and taking inspiration from Picasso\u2019s masterpiece, it comprised of six dancers playing with the themes of entanglement and shadow. The simple costumes of three dancers dressed in white and the other three in black worked incredibly well, aiding the conception of the shadows manipulating the moves. The fragmented Cubist feel was enhanced by the scenery, with huge shards of translucent Perspex lowered throughout the performance to physically and visually break up the dancers\u2019 moves. Elena Kats-Chernin\u2019s score was in parts reminiscent of a tango, the ultimate dance of simultaneous control and frustration, which bought the feud-filled history of the painting to the stage. The most memorable section of the dance was undoubtedly the puppetry duet; a concept normally clich\u00e9d and very hard to successfully execute, this one was a complete reimaging with palpable tension. \u2018The Three Dancers\u2019 was, by far, the highlight of the trio.<\/p>\n

The final work of the evening was Shobana Jeyasingh\u2019s \u2018Terra Incognito\u2019, a piece inspired by the early exploration of the world. The moving blue scenery was a perfect backdrop for the theme, suggesting vast expanses of unpredictable water. Gabriel Prokofiev\u2019s music gave the work a frantic stress which the dancers mirrored with impressively fast foot and floor work. The high point was when the almost hysterical movement was broken up by a single dancer running to the very edge of that stage and executing a perfectly slow grand pli\u00e9<\/em>. This brave moment heralded the calm after the storm, although the final section rapidly became hectic again. I left feeling stressed by the final piece, disappointed by the first and uplifted by the second; an evening of three halves.
\n 
\nElizabeth Mitchell<\/p>\n","protected":false},"excerpt":{"rendered":"

Rambert, ‘Dark Arteries,’ ‘The Three Dancers,’ ‘Terra Incognito’ at The Lowry, September 30 2015 A word of warning: ever since I saw Mark Baldwin\u2019s \u2018Eternal Light\u2019 aged 15, I have dreamt of being in the Rambert. There was just something about the so cleverly choreographed and very balletic Contemporary dance, with the huge side of […]<\/p>\n","protected":false},"author":45,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":[]},"categories":[325,283],"tags":[],"jetpack_publicize_connections":[],"yoast_head":"\nDark Arteries, Rambert at The Lowry, reviewed by Elizabeth Mitchell - The Manchester Review<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.themanchesterreview.co.uk\/?p=5081\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dark Arteries, Rambert at The Lowry, reviewed by Elizabeth Mitchell - The Manchester Review\" \/>\n<meta property=\"og:description\" content=\"Rambert, ‘Dark Arteries,’ ‘The Three Dancers,’ ‘Terra Incognito’ at The Lowry, September 30 2015 A word of warning: ever since I saw Mark Baldwin\u2019s \u2018Eternal Light\u2019 aged 15, I have dreamt of being in the Rambert. 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