Maggie Foyer – London in June:

Sixty Swans and new touching works

The regular company of 67 is augmented to 120 and audiences of tens of thousands pack the arena for this big ballet event. Deane successfully positions his fine classical production in a spectacular setting.  A flock of 60 swans arms undulating and bourrées quivering, shimmer in the blue light and van Rothbart (Tamás Solymosi)rises, like a magician, through waves of dry ice.

Deane has transformed the last act, making imaginative use of the circular setting and size. Much of the other choreography is fairly traditional but cleverly reworked as the first Act pas de trios becomes a pas de douze and Cygnets and Big Swans become eight and four respectively. It’s a marathon run for the company both in stamina and energy and they rose to the challenge with quality performances at all levels notably Kei Akahoshi leading the Polonaise with a smile that radiated to the furthest seat.

Modern landmarks
Rambert Dance Company brought an intriguing programme to Sadler’s Wells. Siobhan Davies’ The Art of Touch from 1995 reveals her craftsmanship, nuanced, intimate and coolly classical. She finds in Scarlatti’s harpsichord music the perfect partner matching both the precision and the grittiness.

Merce Cunningham’s RainForest is another landmark piece, accompanied by a meticulous reconstruction of David Tudor’s sound-sculpture and backed by Andy Warhol’s playful piles of silver helium-filled cushions. Rambert have a number of Cunningham works in their repertoire and have successfully made them their own, at ease with choreographic challenges and the self-possessed style. There were some fine performances especially from Dane Hurst, Jonathan Goddard and Angela Towler.

Itzak Galili’s A Linha Curva,  a love fest of raw dance energy, sent the audience home on a high. It shamelessly pushes all the right buttons, high tech lighting and designs, choreography that blends street and contemporary and utterly theatrical. The effect is irresistible.

New and classical at Covent Garden
The Royal Ballet’s last programme for the season saw a welcome return of Wayne MacGregor’s Chroma. The startlingly modern sounds rising from the orchestra pit courtesy of Joby Talbot and Jack White lll and the brilliantly minimal sets from John Pawson frame the choreography to perfection. MacGregor stalwarts like Melissa Hamilton and Rupert Pennefather were in their stride while newcomers Olivia Cowley and Dawid Trzensimiech are moving up to poll position looking sharp and elegant.

Christopher Wheeldon’s Tryst provided the neo-classical bridge between modern and classical. Sarah Lamb, who has an arabesque that seems about to take flight and boureés that truly run, was effectively matched by Pennefather in the stunning central duet. In this skilfully visualisation of James MacMillan’s intricate music, Wheeldon has created some of his best choreographic moments.

The evening closed with Balanchine’s Symphony in C. The structure of the work gives excellent opportunities for the Royal’s principal dancers. Leanne Benjamin and Johan Kobborg graced the opening movement. In the lyrical second, the divine Alina Cojocaru was partnered by Valeri Hristov who seldom puts a foot wrong while Roberta Marquez and Steve McRae added effervescence to the third and Laura Morera with her favourite partner Ricardo Cervera brought the work to a fast and furious finish. This is a work that confirms the quality of the company.

An evening of New Works by RB company members in the smaller Linbury Theatre gave different opportunities, the chance to see dancers in unexpected roles and in an intimate setting. Kristin McNally who choreographed Don’t Hate the Player, Hate the Game, showed a distinctive style and an effective interpretation of contemporary issues. But it was Slava Samodurov who gave the most accomplished work of the evening. His Trip Trac was packed with ideas in a well structured and intriguing ballet; a choreographer to watch for the future.

Never to be forgotten
At the Lyric Theatre in Hammersmith the Amici Dance Theatre Company presented Tightrope.  It was a circus like no other. Director Wolfgang Stange creates theatrical magic looking through what we label ‘disabilities’ to find the soul within and then to help it fly. It is almost impossible to describe adequately this funny, sad and magical show where tears and laughter are never far below the surface. They lack funding but are rich in fans and once seen an Amici production is never forgotten.