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Concerto, created in 1966, provides a unique insight into how MacMillan dealt with the notion of plotless or ‘abstract’ ballet set to non-dance-specific music. Shostakovich’s sometimes infectious, sometimes emotionally intense score is translated into what could be referred to as softly toned, spirited choreography. The vibrant, eye-catching intricacies of the first and third movements never give in to flashy ideas or exploit technical bravura. But it is in the second movement, dominated by one of the best examples of 20th-century dance composition, that the genius of MacMillan can be savoured in full. The intense lyricism of the dance duet complements and contrasts the elegiac melody with a purely modernist combination of balletic legatos and staccatos. It never slips into cheap romantic soppiness or visual sensationalism, even though some of the choreography draws upon a refined use of dance acrobatics for which MacMillan is known.
On the opening night, Marianela Nuñez and Rupert Pennefather made the most of the sense of impending tragedy that informs the whole piece. Although the choral action of the other two movements was marred by some unrefined dancing, the principal interpreters of those two sections, namely Yuhui Choe, Steven McRae and Helen Crawford, received a well-deserved enthusiastic response from the audience.
The Judas Tree (1992) was MacMillan’s last creation and one of his most controversial. Eighteen years down the line, it still elicits different reactions from both seasoned ballet-goers and ballet neophytes. The work epitomises the darker side of the choreographer, who drew upon themes such as rape, diversity and murder in a number of his works. Here the action revolves around the gang rape of ‘the woman’, the suicide of the brutal ‘foreman’ and the immolation of his ‘friend’. There are a number of dramaturgical flaws, but, on the opening night, these were totally obliterated by the show-stealing performances of Leanne Benjamin as ‘the woman’ and Edward Watson as ‘the friend’, which had me, and many others, totally spellbound. I only wish Carlos Acosta had put more effort into his reading of the ‘foreman’, as he could have easily matched the other two.
The evening ended on a light-hearted high note with Elite Syncopations to a medley of Scott Joplin’s catchy tunes, played, as is customary, by a colourfully dressed band on the stage. Elite is a true compendium of MacMillan’s humour and sense of caricature, and it is difficult not to smile or even laugh at the danced action. Luckily, the Royal Ballet artists, led by a sparkling Sarah Lamb, approached the subtle antics of the choreography with panache and good taste, and prevented the whole work from sinking into slapstick, as has been the case in the past. I particularly loved the hilarious duet with Laura McCulloch and Paul Kay.
All in all, this is an ideal triple bill for all those who love MacMillan and for those who want to know more about him. And if you want to get more out of it, read Different Drummer: the life of Kenneth MacMillan, Jan Parry’s superb biography of the choreographer, beforehand.
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Also by Giannandrea Poesio
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