In celebration of its 25th and last season of work, the Richard Alston Dance Company is embarking on an international farewell tour. The kind of endeavour you might normally associate with the break-up of a major band, or with Cher – who is perennially on her last tour, and I think has been saying farewell since at least the beginning of the last century, as is the whim of an eternal being. The scale feels only a bit different for Alston and his dancers. Final Edition: Oxford [1] is a culmination of many lives at work together, expanding the practices of modern, postmodern, and contemporary dance in the United Kingdom.

Because of his eponymous title the Etonian has a claim to canonical status and this tour could have become an overwrought monument to privilege and ego. Instead, what we witnessed in Oxford’s New Theatre on Wednesday night was a homage to a history of dance, branded, and shaped by Alston, advanced by collaborator Martin Lawrance, and most importantly, pulled off with immense style, presence, and love by a company of extraordinary dancers. (more…)

Richard Alston Dance Company opened their show at the New Theatre, Oxford with Martin Lawrance’s energetic and fast paced creation Detour, which was followed by six pieces by Alston himself. Lawrance leaves interpretation to the audience: according to the programme, he named his piece because he started with one idea, which changed as he worked, but he leaves it to the dance to reveal what those ideas were. Performed to a recorded marimba and percussion soundtrack, its zippy pirouettes and sharp split jetés interspersed with leaps into dramatic embraces displayed the company’s virtuosity, while suggesting an underlying theme of conflict.

Richard Alston’s own programme notes offer more clues to the thoughts, images, and circumstances that lie behind his dances. (more…)