Prickling - NDT2 in Bradford

NDT2's Cacti

(c) 2016 Nederlands Dans Theater, all rights reserved
Reproduction licensed by the company

NDT2, Mixed Programme, Alhambra, 30 April 2016


I saw Nederlands Dans Theater 2 at the Alhambra last night and enjoyed their performance in Bradford even more than their show at The Lowry (see NBT2 at the Lowry  24 April 2016). Yet again my favourite was van Manen's Solo and once again I was dazzled by the virtuosity of Gregory Lau but I also appreciated the other works a little more, particularly Sad Case, Mutual Comfort  and Cacti and I was impressed by the other dancers, especially Katerina van den Wouwer and Alice Godfrey. Some Other Time was omitted from the Bradford programme but otherwise it was the same as the one in Salford.

Despite its title there was nothing particularly sad about Sad Case. The Latin American music was exuberant and the pace fast. Voices could be heard speaking Spanish: a count down, then something that sounded like a dialogue from one of the Spanish language TV soaps of the kind you often find on the hotel telly when you have just landed from a Transatlantic flight, an ecstatic "Ay, yai, yai, yai" and finally an "ay, yai, yai, yai" with the stress on the final "yai". The audience exploded in mirth. Thoughts of the breakfast scene from When Harry Met Sally perhaps. This was a work that involved the whole company. It was vibrant and fast. I wish I could see it again soon.

Edward Clug's Mutual Comfort followed after the first break. close intense dancing by van den Wouwer and Godfrey with Benjamin Behrends and Lau. I particularly liked Milko Lazar music with its incessant, compulsive beat. It was a short but powerful work.  I had not fully realized just how good it was first time round as I had been waiting for Solo.  This time I think I did it justice.

Solo was as exciting in Bradford as it had been in Salford and it raised the biggest applause. The house was less than full yesterday but you would never have guessed that from the noise that they made. Yet again it was Lau who raised the biggest cheer.

As is Salford, the whole of the last part was taken up by Cacti. It was introduced by the droning of an American male voice which might have come from an anthropology lecture at a US junior college or, worse, a low budget TV show. I could not make head or tail of what he was saying but that was probably the choreographer's idea. There were scenes of the whole company on wooden platforms conducting what seemed to be some meaningless ritual. Then a cackle of laughter, more simian than human. Then a dialogue between a man and a woman on dividing their assets including a lifeless cat which fell from the ceiling, The American voice could be heard at the end. "This is the end", "I know this is the end", "I know" with added frustration as the dancers kept dancing. It was a fine work to a fine score - particularly the Beethoven - and some dramatic scenes such as this one towards the end.

NDT2's Cacti

(c) 2016 Nederlands Dans Theater, all rights reserved
Reproduction licensed by the company

Sadly, the company has finished its run in the North and is now moving on to the Hippodrome, Plymouth, Nottingham, Brighton and Sadler's Wells. Most of the young dancers in NDT2 will graduate to the main company soon but they will be replaced by a new intake whom I look forward to seeing soon.

NDT2 at the Lowry

Standard YouTube Lincence

Nederlands Dans Theater 2, Mixed Programme, Salford, 19 April 2016

Last Sunday I saw the Hungarian National Ballet perform The Sleeping Beauty in Budapest (see Sir Peter Wright's The Sleeping Beauty in Budapest 23 April 2016). The next day I saw the Royal Ballet dance The Winter's Tale at Covent Garden (see The Winter's Tale Revisited - Some Ballets are better Second Time Round 20 April 2016). The day after that, I saw The Nederalmds Dans Theater 2's mixed programme at The Lowry. Three excellent but very different performances by three great companies in three great cities on three consecutive nights, I enjoyed them all equally.

The Nederlands Dans Theater ("NDT") describes itself over modestly as "one of the most productive dance companies in the Netherlands, if not in the world."  It is certainly one of the most celebrated. It was founded in 1959 by Benjamin Harkarvy, Aart Verstegen, Carel Birnie and some 18 dancers from the Dutch National Ballet to focus on experimentation with new forms and techniques of dance. It has taken its direction from some of the world's biggest names in dance including:

• Hans van Manen who has been associated with the company almost from its formation first as a dancer, then as a choreographer and finally as its artistic director between 1961 and 1971 which was when I first became aware of van Manen's works and started to follow them;
• Jiří Kylián who was the company's artistic director between 1975 and 2004; and
• Paul Lightfoot who has directed the company since 2011.

The NDT is based not in Amsterdam, the Netherlands's cultural and commercial centre but in the smaller and much more sedate political capital of The Hague.

NDT2 is the NDT's junior company consisting of some of the world's best classically trained young contemporary dancers. Those dancers, who are in their late teens and early twenties and recruited from all parts of the world, spend three years in the junior company before graduating into the main company NDT1. For a number of years there was also a third division of the company known as NDT3 for dancers over 40 but that was discontinued in 2005 (see Harris Green Dance: Where Age 40 Doesn't Mean the End of Everything 20 Aug 2000 NY Times). I had not noticed that the elder company had been discontinued and asked about in a question and answer session with two of the English speaking dancers after the show.

We were treated to six works at the Lowry last Tuesday:

• Schubert choreographed by Sol León and Paul Lightfoot to Schubert's String quintet in C - Adagio;
• Sad Case by the same choreographers to the music of  Perez Prado Mambo no. 8, Perez Prado Muchachita, Alberto Domínguez Frenesí, Ernesto Lecuona Always in my heart, Perez Prado Caballo Negro, Ray Barretto Watusi, Trio Los Panchos Perfidia and Perez Prado Maria Bonita;
• Some Other Time also by those choreographers to Max Richter's Thermodynamics; I was just thinking; Broken Symmetries for Y; When the northern lights / Jasper and Louise; A sudden Manhattan of the mind; This Picture of us. P.; Found song for P.; H thinks a journey; Lullaby from the Westcoast sleepers ans So long Orpheus;
• Edward Clug's mutual comfort to Milko Lazar's PErpeTuumOVIA;
• van Manen's Solo to Johann Sebastian Bach's Violin suite no. 1 in D minor Correnta and Double; and
• Alexander Ekman's Cacti to music by Haydn, Beethoven, Schubert and Mahler.

I enjoyed all those works but my favourite by a country mile was van Manen's Solo. I have said many times that van Manen is my favourite living choreographer and it was his work that I had come to see. It did not disappoint. A powerful work by three magnificent young dancers, Gregory Lau, Helias Tur-Dorvault and Paxton Ricketts.

Lau opened the show and was part of the closing piece. For me he stood out even among his exceptionally talented colleagues. In praising him in this way I do not infer that he towers above the others in any regard but the programme allowed him an opportunity to shine and he was dazzling. None of the women eclipsed the others. Each had a different style and contribution to the choreography and I admired them all equally.

The company has just performed in Scotland and is moving on to Newcastle, Bradford, Birmingham, Plymouth, Brighton, Nottingham and London. If you live anywhere near those cities you should try to see them. Of a great three day feast of dance van Manen's Solo was the pièce de résistance.