Forsythe triple-bill fizzes with passion
ASK any dance fan about William Forsythe — but don’t expect a lukewarm response. To some he’s the natural heir to Balanchine, adroitly transforming classical steps into his own brand of athletic dynamism; to others he’s (as one critic put it) ballet’s Antichrist. Semperoper Ballett’s stunning new triple bill shows three different sides to this modern master and, like him or loathe him, reminds us just how influential he’s been.
The programme opens with Forsythe’s most famous work, In The Middle, Somewhat Elevated, created in 1987 for Nureyev’s Paris Opera Ballet. This is the Forsythe of popular imagination, all gravity-defying hyperextentions, algorithmic phrasing and speedy, elaborate enchainment. Danced to Thom Willems’s muchcopied gritty electronic score, it’s a study in sleek, punishing virtuosity, as the nine dancers throw themselves off balance, flaunt broken wrists and power through the supercharged choreography.
Neue Suite, made up of eight pas de deux, may be an exploration in partnering, but it’s also a fascinating insight into Forsythe’s evolution, bringing together a series of works he created for Ballet Frankfurt between 1987 and 1999. It’s also the bill’s most traditional offering — 20 minutes of sumptuous classical phrasing, jazz-infused steps and whip-fast leaps and turns.
Sangeun Lee and Christian Bauch were particularly good in the Bach movement, while Alice Mariani brought a gentle sensuality to the Handel 3 variation.
Enemy In The Figure is a masterclass in Forsythe’s use of space and his self-conscious, messy play on traditional stage conventions. Here the dancers light themselves by way of a huge spotlight rolled across the stage; performers freeze in its glare or continue to dance obscured in the shadows. An exposed wall briefly becomes the backstop for a handstand, a rope pulsates across the floor. It’s hugely theatrical, wildly intense — and a lot
of fun.