Dorian Gray
Performance Reviews || Wednesday, 17 September, 2008
reviews make a temporary return as Susan Cunnigham reports on the dance goings on at this years Edinburgh Festival.
Dance always commands a high profile at the Edinburgh Festival but how refreshing to see this years headliners are not the usual suspects.
For the traditionalists, the State Ballet of Georgia brought Giselle, works of Balanchine as well as 2 UK premieres by former Bolshoi Ballet star, Yuri Possokhov and director, Alexei Ratmansky.
For those wanting something more interactive than aesthetic, Melbourne's Chunky Move stole the limelight. It has been 10 years since an Australian Dance company performed at the Festival and Mortal Engine had everyone wondering why? Filling not only the stage, but invading the auditorium with a feast for the senses.
I felt like Kaa from the jungle book as I was hypnotised by lasers, lost in the repetitive patterns of graphics, beeps and fluidity of the dancers (aided by a slanting stage allowing them to slide as they moved.) Their movement triggered light and sound, although sometimes appearing as if they were powered by electrical impulses. Never have I seen technology and biology so seamlessly intertwined.
Themes of sexuality were explored through indulgent choreography, which showed connection and isolation. And mortality; a clever use of graphics managed to illustrate bodies decomposing.
There was something ethereal about the piece and if I was ever to be abducted by aliens I'm sure it would feel a bit like this. As I looked at my watch at the end of the piece and wondered where that missing hour went. (Cue X files music!)
The themes in Matthew Bourne's latest work are anything but subtle.
The Picture of Dorian Gray adapted from Oscar Wilde's critique of late Victorian decadence is catapulted to the hedonism of present day celebrity-obsessed society. The painting that aged when Dorian sold his soul to the devil, becomes a Billboard poster that weathers for the narcissistic model.
With every production Bourne pushes the boundaries that bit further, this time allowing him to explore the gay subtext of the novel.
With adult content (should dance shows come with age certification?) that some might find uncomfortable, the dark fairy tale of sex and drugs is lifted by Bourne's fantastic sense of humour and mockery of popular culture. It slickly comments on how the media like to build 'them' up only to celebrate and aid their downfall.
Keeping in mind that Bourne's work is dance theatre, choreography can be neglected in favour of storytelling; nonetheless it is unique entertainment with a message.
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