Men in Motion, Sadler's Wells Theatre | Dance reviews, news & interviews
Men in Motion, Sadler's Wells Theatre
Men in emotion a more apt title as Royal Ballet star escapee takes his first steps off the leash
Sergei Polunin’s flight this week from the Royal Ballet just as he rises to the pinnacle made last night's Sadler's Wells show a very hot ticket for those who wanted to catch his guest appearance in it. But the evening was also a proclamation that this isn’t the first time that company has mislaid one of its finer talents. Ivan Putrov, who masterminded it, was also a splendid young principal who lost his compass inside Covent Garden, and last year sheared off to join the contemporary dance world.
For Men in Motion he invited Polunin to join him and five others in a male-centred programme that, in the hallowed Russian tradition, has since had changes from what’s been announced, reducing seven to five, and losing what he had wanted as a rousing male send-off, Nacho Duato's Remanso. This must have added unwanted extra tensions to a show already saddled with the apocalyptic last-minute excitement of Polunin’s leap to personal freedom (Polunin pictured by Elliott Franks).
I wonder if Putrov intended the youthful sadness that suffuses the programme. “Men in Emotion” would be a more apt title, as essentially the dance numbers are five variants on being all by yourself in the moonlight and not, to be honest, dashing about in the thrilling way that ballet chaps usually tend to do. One of the young men invoked is Nijinsky, the Ballets Russes prodigy whose emotional and mental disintegration in his mid-twenties haunts Putrov's programming.
But the symbolism of opening with Le Spectre de la Rose, Fokine’s plangent romance where a girl dreams of her rose coming to life, strikes a false note with a performance where the dancers - one from the Mariinsky, another from English National Ballet - seem to be coming at it from different places. Spectre is almost doomed to fail because its contents are so debated, and yet it is all scent and suggestion. This ballet was where 21-year-old Nijinsky, in a rose-petalled leap, established his near-divine aura as a creature trembling with unidentified urges, neither quite animal, vegetable nor mineral. Probably the 1911 orchestra was better than last night’s scratch band, but Igor Kolb (pictured right courtesy Mariinsky Ballet, whom I’ve much admired for his danseur noble qualities in past years) was so tendrilly he was positively sweet-pea. Even the irresistible sweetness of ENB's Elena Glurdjidze in her muslin cap and ballgown couldn't override a sense that this number had been thrown together without loving care.
Then the anticipated highlights: Polunin and Putrov each did solos bare-chested. Putrov wore gold jewellery, Polunin wore tattoos. Polunin with his angry eyes and soaring leaps very nearly rescued a silly Bolshoi cameo about Narcissus (see picture above, by Elliott Franks), while Putrov over-respectfully marked out a slight Frederick Ashton gala number about sorrowing Orpheus.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Ballerina says goodbye with new works from Khan, Maliphant
Brass band the highlight of new triple bill
Leaden score and ponderous choreography do an injustice to Bloomsbury author's name
Rambert Dance Company's inaugural Music Fellow discusses his new ballet score
The Bolshoi's deathless über-ballerina is no more
Family lore and deep-seated fears explored with surprising humour, and a technical glitch
Impressive talents in remarkably gimmick-free Beeb competition
Ashton's pastoral comedy of love among the haystacks continues to thrill and delight
1984 work by German choreographic genius Pina Bausch receives UK première
Superstar ballerina in awkward psychodramas from Maillot and Carlson
The theatrical dance dynamo talks striptease, triple threats and the power of escapism
Contemporary narrative ballet at its very best