Sadler’s Wells, London.
7 March 2025.
Tonight’s performance opens with onstage welcome from Scottish Ballet’s CEO and Artistic Director Christopher Hampson CBE. He introduced the audience to the programme which is to exist of a short pre-show film, Dive by Sophie Laplane, and two London premieres, the densely packed and tightly choreographed Schachmatt (Checkmate) by Cayentano Soto and for Act 2, Twice-Born by Dickson Mbi, created on Scottish Ballet dancers and described as a ‘true force of nature.’
Dive is attention-grabbing. A single male dancer in white lying on an entirely white background. He begins to explore his surroundings, interrupted by the explosion of a dancer in an inserted square of blue. This narrative play of white and blue backgrounds and dancers continues throughout the film. Some effective moments include the use of overhead and moving cameras, the sound of breath in the soundtrack, and blue smoke breathed from mouths like fire. There are yogic influences, including crow balance, and seated meditation pose. The moving camera examines frozen dancers mid-movement and there is a visually effective rewind of their movements. Quirky humour laces its way throughout this piece, which ends with a dive – the camera face-up underwater.
Onto Schachmatt, and the striking chequerboard flooring, with floor spotlights spread exactingly across the back of the stage. Schachmatt – German for ‘checkmate’ – has an engaging soundtrack that travels through the jazz era. Gorgeously diverse jazzy rhythms – wartime and fifties, samba and latino-inspired, through to more mellow melodies are explored and Soto’s influence and inspiration from Fosse’s unique characterised work is clear.
Dancers dressed in uniform grey with helmets, move both in synchronicity and with interesting play among their groupings and interactions. Entrances and exits are entertaining and sustained. Travel across the chequerboard energetic and bold.
After the interval, the curtain rises on a far more serious setting — rumbling thunder and shadowy light adjusting the mood before the scenery is even visible. There’s a charged atmosphere of anticipation. And finally, we can see the huge rocky cliff face that forms the backdrop. Stunning scenery designed by Ruby Law.
A solo female in an isolated spotlight cowers at the foot of the rock. She crumples as the thunderstorm builds. A beautiful Celtic-influenced melody plays as the dancer begins to travel on pointe. Unexpectedly, several dark objects – later to be revealed as rocks – rise into the sky either side of the stage. And dancers enter crawling, their bodies low, intimidating. The female soloist tries to connect with them, but she is rejected. This body of dancers move together, the female alone centrally, though her movements are sometimes echoed by the others. Soaring strings and an emotional female vocal builds tension – dancers face the back, arms overhead and their unified steps one foot to the other on the spot creates a rocking sensation – soothing yet unsettling, with underlying beauty hiccups which show up exactly like that – hiccups through the dancers’ bodies.
Reading of Dickson’s rehearsal practice is captivating. No music, just the company breathing together to keep unity and flow. His explanation of Twice-Born telling the journey of a matriarch leaving her community and a young person coming of age, is insightful prior to watching, but not wholly necessary once absorbed in the unfolding action and emotional score. This is the first time Dickson Mbi has composed his own score as well as choreographing. Fascinating to hear African and tribal influences in the music, and Mbi’s own background in popping showing up in the intermittent beat.
There is a lot to take in on stage: Reflections on the stage floor. A guttural roar from the centre sends them all scattering, and a powerful section where the men dance as a group. There is confusion, disturbance. A loud thunder crash sends them all to the ground, leaving her alone in the centre. She is among them but separate. She dances powerfully with a male partner, who lifts her overhead as she arches back. When he leaves her, she looks out to the audience, searchingly. She removes her black outer clothing with an unsettling sense of purity and disturbance and she crumbles to the ground.
The storm continues – energetic running across the stage, side lights casting eerie shapes and the soloist arises to a deep hum. The body of dancers creep in and surround her. She is the same but different. She commands control of movement and light, she exudes power. Men pick up rocks and in visually appealing movement they transport them, rising and falling around the stage, placing them at her feet, then building a wall that prevents another female from breaking through. She wants to reach the powerful one, but she is prevented. The ritualistic feel of the piece is strong as she dances, as though held under power or spell. She climbs onto the shoulders of a line of men, and falls.
Tribal sounds enter and build, ultraviolet light illuminates fossils on rocks and blue on the body of dancers fingers. There are a lot of whispers and words that cannot quite be placed.
Her body is laid centrally; the feeling of anticipation and unease persists. Men and women enter from dark shadows and the still figure of the female gives a huge sigh, rippling through her back. She is lifted then – close observation might have seen the wires attached to her by others around her body. She is arched back, her limbs hanging. She is the same but different. She has earned the tribal markings she now wears. Then she breathes and reaches, sweeping into some beautiful lines, suspended above the stage. It’s exquisite and unexpected and enhances the supernatural feel of the whole piece.
The group come together, the hypnotic beat powerful and a blackout leaves a sense of completion, but also wanting more.
By Louise Ryrie of Dance Informa.
