End of term in the dance world is a time of celebration and liberation. As in schools up and down the country, dance institutions put on a show, announce their leavers and their joiners, the talent promoted, the old-timers on the way out. Now Sadler’s Wells seems to be offering a choreographic version of the process, with two programmes highlighting young talent.
Of the two, the annual performance of the National Youth Dance Company, choreographed by this year’s guest artistic director Botis Seva, gave most cause for jubilation. The company, made up of 28 dancers aged 15-24, plus 10 returning from previous editions of the scheme, made Madhead with Seva, who is himself only 28, over four intensive residencies, which take place in school holidays.
Their performance level was simply superb; every single one of the dancers gave everything and produced a lot. Seva’s choreography, made with the help of his own Far from the Norm company, is dense and unusual. There’s a lot of contrast within the movement; it modulates in an instant from harsh to soft, from frozen poses to rapid runs, small detailed gestures of the hands and arms highlighting the moments Seva sets dancers loping around the stage, sometimes crouched on their toes, sometimes upright and free.
The theme of Madhead is youth’s right to be heard. It unfolds through distinct sections, one of militaristic gestures, using sticks as guns; one that contrasts figures who seem to be older – rolling like pub bores, using sticks as supports – with more vigorous leaps and jumps; one that directly challenges the audience. A single female figure recurs throughout, raising her finger to her lips. Conformity and the individual seem to be at issue, and although it is not always clear exactly what is going on, the mood is both thoughtful and thrilling. NYDC has every reason to feel proud.
The Young Associates programme, Together, Not the Same, was more problematic. Christopher Thomas, Ruby Portus, Wilhelmina Ojanen and Anthony Matsena are four choreographers chosen by Sadler’s Wells as people to watch, given support and time to make work. There was undoubtedly promise on display, but it was distorted by the decision – made by Hetain Patel, who as a Sadler’s Wells New Wave associate was supposedly giving “artistic guidance” – to “rethink the traditional mixed bill”.
What this meant in practice was that each choreographer made a piece for the first half of the programme and then responded to their own piece in a contrasting manner in the second. There is probably a time and place for this kind of deconstruction, but if you are trying to encourage young choreographers it is a mistake. As many more experienced choreographers know, it is hard enough to make good dance. To do so within such constraints is almost impossible.
In the lengthy and slightly dispiriting evening that resulted, Thomas emerged most nearly triumphant, with To the Ocean Floor, a work full of an evocative sense of loss and surprising twists of movement. Ojanen and Matsena both produced pieces that were interesting but got lost in too many ideas. Portus just seemed to get stuck. However, a hugely enthusiastic and supportive young audience added to the pleasure.
Star ratings (out of five)
Madhead ★★★
Together, Not the Same ★★
