Tuesday 5th November 2019, New Victoria Theatre, Woking
You would be lucky to have paid witness to a bittersweet programme of Richard Alston Dance Company repertoire and new works on their final tour. A joyous celebration of the iconic company’s twenty-five years in the business following their departure from touring next March.
Male soloist Jason Tucker bounded onto the stage, energetically opening the evening with the reconstruction of Red Run (1998), an unmistakeable display of Cunningham technique at its finest. The strong company of dancers continued the infectious energy with a series of effortless solos, duets and trios, filling the stage with effervescent ease. Seamless shifting of physicalized dynamics created an embodiment of Goebbels’ multifaceted music. A gratifying bringing the past to the present.
Following this excellent display of performed archive of shape and form was the new work Voices and Light Footsteps, to the music of Monteverdi. A dazzling collection of frothy duets imbued with elastic extensions, heartening fluidity and great feats of strength including gravity-defying off-balance contact work added a new edge to Alston’s renowned repertoire. It is heart-rending to think that this ingenious piece of work will be the last we see from Alston who is at the top of his game.
A more recent past was again brought to the present with the popular closing of Brahms Hungarian (2018), set to the music of Brahms performed by live pianist Jason Ridgway. Moments of serene slowness combined with manic speed maintained perfect precision, drawing from the pure joy of movement to create an awe-inspiring spectacle that kept on giving to the devoted audience.
Is this loss of Alston’s virtuosity from the touring dance scene just one of many in dance’s ever-continuing struggle to stay live and present? Or is it the gateway needed for a fresh talent to make their debut?
Megan Hamer
DIGESTING DANCE 