Skip to main content

Review of Richard Alston Dance Company at Royal & Derngate, Northampton

Despite having watched Strictly Come Dancing since Len Goodman almost had hair, dance is a generally rarely tapped area for me at the theatre. I have seen a very select few and been impressed by some University contemporary work, been amused by our own home grown Strictly and been generally bored by some ballet. However at the high recommendation of the blogging supremo The Real Chrisparkle, I found myself in the Derngate auditorium watching the Richard Alston Dance Company.

My actual evening had started an hour before the main show was to begin, as I sat in on a very interesting pre-show talk from Richard Alston himself. He guided us through the four pieces that were to be performed on the evening and I have to say that the background stories did help a great deal in appreciating the stories the dances were telling.

Our four pieces performed in order were Rejoice in the Lamb, Isthmus Remix, Tangent and An Italian in Madrid. Each of the pieces were choregraphed by Richard Alston, with the exception of Tangent, which was the work of Martin Lawrance. I have to say that rather awkwardly, considering the name of the show, my favourite piece was that by Lawrance. Much of this though was down to personal preference rather than necessarily quality, as the Argentine Tango is one of my favourite dances. It was of course different to many Argentine dances I have seen before on my main staple Strictly, not least that there was like all the other routines, an added contemporary and ballet flair to the proceedings. However despite that, the familiar were there, including those ganchos. However it was gentler and subtle, with each of the eight performers creating the "four seasons" sweeping piece expertly. This was also the first of two pieces in the evening that had present on stage the brilliant Jason Ridgway on piano, and without question the performance benefited from this live music.
Rejoice in the Lamb (Nicholas Bodych and full company). Photo: Chris Nash
The opening piece of the evening Rejoice in the Lamb was a world of weird of dance, creating from the words of poet Christopher Smart the bizarre, but fascinating adventures of his cat Jeoffry, and the mouse. the ever so brave creature of "personal valour". Set to Britten's music, this piece from Alston was hotfoot from a performance in New York, it was a powerful opening to the evening, despite for myself, as already acknowledged much better to come.
Rejoice in the Lamb (Marianna Krempeniou, Liam Riddick, Oihana Vesga Bujan, Nancy Nerantzi and Elly Braund).
 Photo: Chris Nash
The second piece Isthmus Remix was a brief but gloriously dynamic piece which I greatly enjoyed. Having watched and not really enjoyed the soft balletic approach at times, this being a much more aggressive, impulsive style was a much more captivating affair. Also at the interval, the attire worn by the performers, allowed my companion on the night to comment on how particularly impressive the gentlemen's bottoms were. My comment that there was a lack of gender equality present, due to the excessive length of the ladies tops was the best reply I was able to offer in reply. So much for my attempt at this being a serious review.

The final performance of the evening, An Italian in Madrid offered quite a diverse style with the introduction of Kathak as performed by Vidya Patel, this Indian style dance offered a fascinating contrast to everything else we had seen from the evening. It culminated the evening perfectly as Patel as the Princess and Liam Riddick as the Prince effectively had a dance off against one another to impress. It was beautifully performed and was at curtain call, rightfully acknowledged as a highlight of the evening.
An Italian in Madrid (Liam Riddick and Vidya Patel).
Photo:Jane Hobson
All of the dancers were exemplary in their own right, however a few stood out within the brilliance. Obviously with their Madrid routine, Vidya Patel and Liam Riddick almost stole the night, however my two favourites which the eye always seemed to rest on were Oihana Vesga Bujan and Ihsaan de Banya, the latter obviously possessing tremendous strength while channeling it perfectly to be so tremendously gentle at times. Bujan offered much the same, but also for me, so much emotion into the pieces, captivating at all times. These are however my personal favourites from a group that offered no weak performances in any way.

On top of the routines themselves, the staging was expertly handed, with the Derngate stage stripped right back to its visible edges and never having looked so large. All we had were the lights either side of the stage and a large expanse of area for the performers to create the work upon. It was perfect, and allowed for no distractions from the main event.

So an excellent evening of diverse dance which I think everyone would garner something from, even if one piece is not for you. Inventive, delightfully performed and also extremely calming, which is just a wonderful thing at times. I shall call it for a potential quote, a magnificent potpourri of dance!

★★★★


Performance reviewed: Tuesday 4th September, 2016 at the Royal & Derngate (Derngate), Northampton.

The Richard Alston Dance Company performed at the Royal & Derngate on 
Tuesday 4th and Wednesday 5th, September, 2016 and continue their tour into 2017. Details of dates and locations can be found at http://www.richardalstondance.com/

For further details visit the Royal & Derngate website at http://www.royalandderngate.co.uk/





Popular posts from this blog

Review of & Juliet at Milton Keynes Theatre

First performed in 2019, & Juliet has become quite a global success, and now, as part of a UK Tour, it has arrived at Milton Keynes Theatre for a two-week run. Featuring a book by David West Read, it tells the what-if story of the survival of Juliet at the end of Shakespeare's Romeo & Juliet . Primarily a jukebox musical, it more specifically features the works of Swedish songwriter Max Martin (and friends, as the credits describe). The question is, does & Juliet provide more than the standard of many a jukebox musical before it, and does it honour the tragic tale from which it has sprung? Our story opens with William Shakespeare presenting his latest work, Romeo & Juliet , for the first time. However, when his wife, Anne Hathaway, learns how he intends the tale to end, she is away with his quill and planning on her reworking of the story. At the core of this touring production's success is Geraldine Sacdalan's powerhouse performance as Juliet. Her Juliet ...

Review of Northern Ballet - The Great Gatsby at Milton Keynes Theatre

This production of The Great Gatsby performed by Northern Ballet was my fifth encounter at the theatre of a full ballet production and as before, I happily share my review of the show with nearly zero knowledge of-the-art form and more of a casual theatre-goer. You could say that this is a poor direction to come in on a review, but I would say that casual audience are the ones to review this for. Over the years, Northern Ballet has set quite a high benchmark for ballet productions, and any audience member who is worth their salt as a ballet fan would no doubt have tickets for this new touring version of the 2013 version of The Great Gatsby , lovingly created by David Nixon OBE. So much is Nixon part of the very fabric of this show, that he not only provides the choreography and direction but also the initial scenario and costume design (assisted by Julie Anderson). So, discounting those ballet fans already sitting in the audience, what does this offer for the more casual theatre-goer ...

Review of The Rocky Horror Show at Milton Keynes Theatre

Richard O’Brien’s anarchic, surreal, and often incomprehensible musical, The Rocky Horror Show , has captivated audiences for over fifty years now. With this new tour, it feels as fresh and unpredictable as if it had just emerged from O’Brien's vivid imagination yesterday. While another review might seem unnecessary given the countless dressed-up fans who fill every theatre it visits, let’s go ahead and write one anyway. The Rocky Horror Show follows the adventures of Brad and Janet, a newly engaged couple. On a dark and stormy November evening, they run into car trouble and seek refuge at a mysterious castle reminiscent of Frankenstein’s. There, they encounter the eccentric handyman Riff-Raff, the outrageous scientist Dr. Frank N. Furter, and a host of other bizarre characters. What unfolds is a science fiction B-movie narrative that is at times coherent and at other times bewildering — yet somehow, that doesn’t seem to matter. I first saw The Rocky Horror Show in 2019 and exper...