Royal Ballet Mixed Bill, Covent Garden - dance review
For the past decade, David Dawson has enjoyed a stellar choreographic career everywhere but in the UK. Now that the Londoner’s star has risen, his home town wants him back.
The Human Seasons is Dawson’s first commission for the Royal Ballet — seen here in a triple bill with two favourites, Wayne McGregor’s Chroma and Kenneth MacMillan’s The Rite of Spring — and it arrives fully formed. His work is a gorgeous thing to look at. Finished to a very high spec, you could say. Classy costumes, vast black and matte gold walls, a string-laden score that tugs at some non-specific emotions. It’s modern luxe, in fashion speak.
His rapid, relentless movement has urgency, but also finesse, and it’s designed to make the dancers look impressive — lots of high arabesques and quick soutenu spins. They arch their backs and swoop up their arms, wrists broken, like gymnasts victoriously punctuating their routines.
Dawson is a choreographer with his eye on the big picture, making use of the vast stage, organising his dancers into pleasing architecture. But the loveliest moments are the fleeting, personal ones: when a curious crowd of dancers briefly stops to watch Edward Watson manipulate Lauren Cuthbertson into exquisite obtuse angles; or when Eric Underwood leaves Melissa Hamilton balanced on one pointe, like a casually held breath, and just walks off stage.
For Dawson, it’s a highly respectable homecoming.
Until Nov 23 (020 7304 4000/roh.org.uk)
