Kings of the Dance review: Sleek and streamlined
Author: Neil Norman
Date: March 21, 2014
Svetlana Lunkina and Ivan Vasiliev's powerful performance
If they aren’t the greatest male dancers in the world, they do a very creditable impression of being so.
And with ex-Bolshoi Ivan Vasiliev hogging the headlines it was never going to be less than interesting.
Sleeker and more streamlined than Ivan Putrov’s similarly male-themed Men In Motion, this has fewer dancers and fewer pieces.
It opens agreeably with Nacho Duato’s Remanso, with Leonid Sarafanov (Mikhailovsky), Denis Matvienko (Mariinsky) and the boy from Brazil Marcelo Gomes (American Ballet Theatre) in a cheeky and touching three-way struggle over a red rose.
Vasiliev opts for jeans and a bare torso in Roland Petit’s Le Jeune Homme Et La Mort which displays his hod carrier’s physique to full advantage, especially when dancing with Svetlana Lunkina’s yellow-clad Death.
Sleeker and more streamlined than Ivan Putrov’s similarly male-themed Men In Motion, this has fewer dancers and fewer pieces
I missed the sensuality that Tamara Rojo and Nicolas Le Riche brought to the same roles a year or so ago but Lunkina’s replicant-type gestures are probably closer to Petit’s choreographic intent.
The third act is a very mixed bag with Massimiliano Volpini’s retro cyber ballet Prototype strong on Tron-like graphics but undermined by banal choreography; Petit’s elegant but dull dialogue Morel Et Saint-Loup (from his Ballet Proust) proves a bit of a balance challenge for Matvienko until he is joined by Gomes.