Akram Khan Company, Drama Theatre, Sydney Opera House, August 28. Les Illuminations, Sydney Symphony Orchestra, Sydney Dance Company and Katie Noonan, The Studio, Sydney Opera House, August 28
AKRAM Khan is a choreographer with a hugely inquiring and generous mind. The list of his collaborators is long, stellar and diverse. He’s not a man content to do the same thing over and over with small variations. To celebrate the centenary of The Rite of Spring, Khan didn’t want to add yet another dance work to the extensive list of those who have used Stravinsky’s epoch-altering score. Instead he wanted to “enter Igor’s own thought process and follow its complex and disruptive path”. Thus iTMOi, a particularly ugly and tricksy title that stands for “in the mind of Igor”.
But not only does that phrase give a slightly impertinent suggestion of intimacy with the composer, it is misleading in terms of what iTMOi achieves. The piece is broadly another version of The Rite of Spring with different music (three composers plus a tiny snippet of Stravinsky), twice as long and with an altered ending. Ritual and sacrifice are its themes but there is little of the disruption Khan hopes to evoke. He would have to be far more transgressive than he is here to come anywhere near emulating, let alone surpassing, the effect of the bomb Stravinsky threw on that May day in 1913.
There is nothing better in iTMOi than its beginning, in which a preacher figure shouts a text about Abraham and Isaac against a dramatic, roiling soundscape. Bells toll and drums beat while dancers shudder, groan, hiss, whisper and chant in a primal and thrilling display of ecstatic possession. The feel is that of a particularly intense meeting of religious fanatics. Dancers wheel about in stuttering, speedy circles; there are springy elevations from deep plies in second.
The piece then becomes a series of scenes, somewhat unfocused in structure, that alternate between unrestrained physicality and slow-moving tableaux. A woman in a huge white crinoline commands attention; a younger woman, also in white, is covered in ash; a man tries to challenge the unity of the group but fails; another man stands on his head; yet another, semi-naked, prowls the stage, sporting long thin horns. Meaning is elusive, although there is a general sense of pagan wildness. Igor’s mind was clearly a pretty vibey place.
The muscular stamping and circling motifs are reminders of the folk elements in Stravinsky’s score; the slower sections offer arresting imagery but feel over-indulgent and not always full of the resonances Khan appears to be seeking. The work is only 65 minutes in length but is stretched beyond its natural span and ideal shape. It also seems to end twice before it really does, which is rarely effective. I was surprised to see that a dramaturge is among those credited.
The 11 dancers are superb, it goes without saying, and an Akram Khan work is always worth a visit. This one looks spectacular and is performed with brilliance. It’s just not his most coherent.
iTMOi was preceded by a wonderful collaboration between Sydney Dance Company, the Sydney Symphony Orchestra and singer Katie Noonan. Why such riches all on one evening? Because the two works are all that is left of the Sydney Opera House’s Spring Dance festival, canned earlier this year for cost reasons. SDC’s artistic director, Rafael Bonachela, curated last year’s event and was to have done the same this year. It is a huge loss for the city.
Fortunately Les Illuminations survived the cull. At only 45 minutes it is a lovely jewel that deserves more than the handful of performances it’s being given. For those whose knowledge of Benjamin Britten is confined almost entirely to his operas (that would be me), the two works chosen by Bonachela for this project surprise and delight, as does the dance inspired by them.
The first half is playful and sexy, set to the four-movement Simple Symphony (1933-1934). Dancing on a catwalk set in the centre of the Sydney Opera House’s Studio, Janessa Dufty, Andrew Crawford, Fiona Jopp and Bernard Knauer flirt, tease, sparkle and seduce. Despite the restricted space there is room for a few playful tosses, much intertwining of limbs and lovely partnering in which the women are as supportive as the men. The expressive eye contact and the women’s gorgeous smiles lights up the intimate space.
In the second half, Les Illuminations (1939), Noonan sings texts by Arthur Rimbaud, the French poet who was a byword for dissipation and excess. The costumes, by fashion designer Toni Maticevski, are black rather than the cream confections he created for Simple Symphony, and the atmosphere is much darker and erotically charged. The movement is edgier as dancers prowl and slither around one another or enter same-sex pas de deux. Juliette Barton looks coolly dangerous as she holds Charmene Yap in a tight grip; Thomas Bradley and Cass Mortimer Eipper are equally sensuous in their highly charged meeting.
Noonan had a slightly tentative start at Wednesday’s opening but quickly showed her silvery, agile soprano to be an excellent match for Britten’s songs. Seventeen string players from the SSO were conducted by Roland Peelman in an absolutely luscious performance.
Les Illuminations has its final performances on August 31. iTMOi finishes September 1.