Cut and RunChoreographer: Martin Lawrance

The fierce cut and jib of this work was evident from the first moment: music and movement battled for dominance, both rhythmic and rigorous. The choreography had a disjointed quality; the many pauses – some fleeting and others broad – prevented a sense of fluid motion. However this suited the music, which had pounding yet uneven rhythms and was often a cacophony of sound. The dancers rarely moved together; instead they seemed to fight, to exist alone, and to defy and reject each other. The level of technical command was impressive: each movement (or sudden stillness) was precise and controlled, and the dancers negotiated dizzying transitions between standing, lying, rolling and turning. (more…)

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Richard Alston Dance Company returned to Oxford this week for one evening at the New Theatre. The programme opened with Martin Lawrance’s Cut and Run, to music by Michael Gordon and Damian LeGassick for ten dancers dressed in ‘urban wear’ with metallic decoration that glinted in the dim light. Starting and stopping, dodging and colliding, they broke out of the purple patch of illumination that seemed at first to confine them, and spread across the darkened stage. An interval of silence, then the lights changed to orange, adding a fresh sense of urgency to their frantic race, until the work concluded, with the dancers once more bathed in a purple glow. (more…)

Last week, Richard Alston Dance Company brought Oxford Playhouse a programme that was all about surprising encounters: tango and contemporary dance; Britten and Purcell; Scarlatti and Andalusia; Indian and Western classicism.

The evening opened with Martin Lawrance’s Tangent, a clever take on tango for four couples, set to Piazzolla’s Las Cuatro Estaciones Porteñas, which was played at the grand piano on stage by Jason Ridgway. Lawrance uses steps such as picked up foot-crossing walks, sharp changes of direction and occasional close holds to hint at tango, but this contemporary dance piece is not at all like ‘Strictly’, although there is plenty of spectacle. (more…)

It was exciting to see a programme on Saturday that included Richard Alston’s Lachrymae and Illuminations in Benjamin Britten’s centenary year.  The company opened with The Devil in the Detail, to Scott Joplin’s music (piano accompaniment by Faith Leadbetter, the only “live” music in the programme).  Kenneth Macmillan’s Elite Syncopations is a hard act to follow, but Nancy Nerantzi led this gentler dance work with charm and grace, bringing out the delightful sense of fun in the choreography, which ripples through the music like a stream of water.  The only problem is the score, which although pleasure to listen to, doesn’t seem to go anywhere (and so neither can the dance). (more…)

In the programme, Richard Alston quotes Balanchine’s statement “see the music, hear the dance”, and the music that he invites us to “see” in this triple bill is typically diverse:  Jo Kondo for Buzzing Round the Hunnisuccle; Mozart and Ferruccio Busoni for Unfinished Business, and finally Julia Wolfe for Martin Lawrance’s work Madcap.

I saw this programme twice, once from the Stalls and once from the Circle, and each was a completely different experience.  (more…)