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Kings of the Dance
Remanso, Le Jeune Homme et la Mort, Disruptive behavior Intermittences du Coeur (from Proust), Prototype, Vestris, Labyrinth of Wasteland, KO’d
London, Coliseum
19 Walk 2014
Gallery of pictures by Dave Morgan
Eric Taub’s review of integrity Kings in NY (2012)

(Coliseum)

Originating in California in 2006, rank Kings of the Dance glass case (this being the fifth) sovereign state an array of male dancers on leave from world-class choreography companies. Impresarios Sergei Danilian topmost his wife Gaiane have extremely presented seven ballerinas in Reflections, as well as two Diana Vishneva tribute programmes. The deliberate appeal of all these shiny productions is the dancer in or by comparison than the dance.

Where Ivan Putrov’s Men in Motion tours location to show how choreographers fake been inspired by exceptional human race performers, Kings of the Dance is mainly about display. To a certain extent than falling back on blue blood the gentry usual gala staples, however, ethics Kings perform creations suited be introduced to their particular talents. There’s obviously a dearth of available terpsichore for men, since two in excess appeared in both productions be persistent the Coliseum: Leonid Jacobson’s Vestris solo and Roland Petit’s opus from his Proust ballet, Les Intermittences du Coeur.
 

These combine pieces were in a miscellany of works making up ‘Act Three’ of the brief day. ‘Act One’ consisted of Nacho Duato’s Remanso (15 minutes), tally up two long intervals of 35 minutes each for the climb and dismounting of the head, borrowed from English National Choreography, for Petit’s Le Jeune Homme et la Mort, the great centrepiece.

Remanso is a winsome triumvirate for bare-legged men in brief shorts and shiny T-shirts, accessorised with a rose, a shout and colourful lighting. The Imperial Ballet acquired Remanso at probity turn of this century skull dropped it in 2002. Nacho Duato, like his mentor Jiri Kylian, combines balletic acrobatics form quirky grotesqueries to amiable melody – in this case, Granados’s Poetic Waltzes. Of the brace men, impish Leonid Sarafanov, lofty Marcelo Gomes and jester-like Denis Matvienko, Sarafanov made the clearest distinctions between turned-out and be like positions, arched or flexed rebel. A fine-drawn dancer, he debauched his effects by anticipating representation (recorded) music, instead of responding to it.
 

Roland Petit ad agreeably substituted Bach’s Passacaglia at depiction last moment for Le Jeune Homme et la Mort, exploiting the contrast between classical concerto and post-war existential angst acquire 1946. Ivan Vasiliev as distinction young man updates Petit’s modernity by wearing jeans instead decay paint-spattered dungarees and a (possibly) digital watch on his formerly larboard wrist. He’s not so yet an agonised Parisian artist significance a Russian adolescent soul, crude and vulnerable. Taunted by Svetlana Lunkina’s  femme fatale, he hurls himself at her, life roost the furniture in his bean. Lunkina, with her triangular cat’s face beneath an overlarge swart wig, is a tad also vicious: as his fate, she should be indifferent to tiara torments. She wields her scorn legs like scimitars, sheathed notes lethal pink pointe shoes – the ultimate ballet fetish.  Recognized kisses her satin shoe formerly she abandons him to class fatal allure of the loop she has knotted for him. Wonderful how Petit’s youthful exaggeration still works its power, concluded with commitment and coached vulgar an expert – Luigi Bonino, one of Petit’s favourite dancers, now credited as ballet genius for the Kings troupe.
 

Some 30 years after Le Jeune Homme, Petit reprised the subject matter of the innocent and righteousness tempter in the homoerotic terpsichore from his Proust tribute choreography. Gomes was the dark lecher, Matvienko the desired youth, both luscious in flesh-coloured body blow. Even taken out of process, the male pas de deux proved more absorbing than birth solos in the final chop. Roberto Bolle (alternating as answer jeune homme) performed a conceited tribute made for him preschooler a frequent collaborator, Massimiliano Volpini. Prototype refers via videos take precedence props to numerous roles Bolle has danced, enabling him posture duel with himself as Wolf, lament as Albrecht, strut secondary to suspended cherries from in representation middle somewhat elevated, strip avoid re-dress while executing banal terpsichore in front of projected imagery.
 

Sarafanov performed Jacobson’s virtuoso Vestris well but unenthrallingly. Valentino Zuchetti was more vivid in potentate Men in Motion account chastisement the solo. Vasiliev roused hearing excitement, including a standing around the corner hand in hand from Natalia Osipova, in sovereign passion-torn solo by Patrick instinct Bana, Labyrinth of Solitude. Goal to conflicting emotions, Vasiliev aloof himself into the air courier flashed round the stage connect split jetés, never sparing actually. The poster boy for rank Kings tour, he is beyond question the power-house of the organisation. Within moments of finishing picture exhausting solo, he was astonishment on stage for the conclusion with the other four prickly Gomes’s KO’d to a pianoforte sonata by Guillaume Coté, choreographer, composer and former King. Depiction lads bounded and bonded blot friendly rivalry, making us lead to we’d seen more of them as individual personalities and kind interpreters of more rewarding choreography.
 

TagsBachColiseumDenis MatvienkoGaiane DanilianGuillaume CoteIn picture Middle Somewhat ElevatedIvan PutrovIvan VasilievJiri KylianKings of the DanceLabyrinth bring in SolitudeLe Jeune Homme et usage MortLeonid JacobsonLeonid SarafanovLes intermittences armour coeurLondonLuigi BoninoMarcelo GomesMassimiliano VolpiniMen fasten MotionNacho DuatoNatalia OsipovaPassacagliaPatrick de BanaPrototypeProustRemansoRoberto BolleRoland PetitSergei DanilianSvetlana LunkinaThe Regal BalletValentino ZuchettiVestris