Ballet BC’s 2018/ 2019 session has begun with the wonderfully eclectic “Program 1” which showcases works spanning three decades of contemporary dance. The line-up balances a tumultuous and poetic piece, “Enemy in the Figure” from 1989, by celebrated choreographer William Forsythe, and the darkly witty re-run of the 2011 commissioned “Petite Ceremonie” by Ballet BC favourite Medhi Walerski. These brooding pieces are complemented with the zesty, buoyant, premiere of Emily Molnar’s “To This Day”.
“Enemy in the Figure” was at the forefront of dance experimentation when it was created in 1989. It is performed here for the first time in Canada, under the direction of Thomas McManus (who himself worked under the direction of Forsythe in the 1990s). A darkly poetic, frenetic piece dealing with what lies at the edges: the edges of consciousness and control. It is intense to the point of being overwhelming. Propelled by the insatiable, pulsating rhythm of Thom Willem’s avant-guard composition, the dancers lay siege to the stage. Movements are staccato, urgent, even desperate. Taut with energy, these tormented souls rip through space. Their provocative shadows, cast by mobile floodlights, loom large behind them like taunting visions from another world. Pent-up force ripples from dancers, ricocheting off a sinuous plywood screen wall and oscillating through ropes which dissect the stage. Dancer Patrick Kilbane shines, delivering a powerhouse performance. In conversation before the show, Emily Molnar and Thomas McManus, (who both danced with Ballet Frankfurt under the direction of Forsythe), shared anecdotes of his innovative methodology. Forsythe is a choreographer interested in what happens when we’re not in control. It is not the walking but the falling that captivates him. He was infamous for changing choreography on the dancers whilst they were performing. I don’t think anything quite so nerve-wracking is inflicted on Ballet BC’s ensemble but a proportion of the piece is improvised, delivering a unique and raw energy to each performance.
“Petite Ceremonie”, Medhi Walerski’s provocative piece, was originally commissioned by Ballet BC in 2011. This is a most welcomed re-run. It’s a piece dripping with satirical commentary and artful stylisation, investigating the tumultuous rebellion just below the surface of societal constructs. Starting with the premise “Life in a Box”, Walerski paints a world of confined, starchy social etiquette, cracking to reveal moments of repressed mania. Dancers bedecked in chic monochromatic attire caught in a cycle of highly-orchestrated, rigid patterns which explode into moments of free-form, almost hysterical expression. It’s the madness that comes with repression, or lack of understanding by others, of your true nature. There’s a satirical spoken passage in the piece that relates this to gender politics. The contrast of the frenzied release of true expression with the poised posturing makes the latter seem all the more unreal, sinister and grotesque.
The staging mirrors the metaphor. We start with a bare set, devoid of even the curtains to hide the backstage detritus. This is echoed in the music and movement on stage: all is simple, essential. Gradually the trappings of sophistication are added, set, music and movement become more intricate, ensnarling the company in a game of keeping-up-appearances. The climax is the most exquisite tableaux: a pyramid of haughty affectation.
As a counterpoint to the gestural posturing and heavy allegorical agenda of “Petite Ceremonie” and “Enemy in the Figure” there is Emily Molnar’s “To This Day” which provides verve, playfulness and colour (literally and figuratively). “To This Day” is billed as a true collaboration between Emily Molnar (artistic director of Ballet BC) and the company dancers. You can tell – there’s a vibrancy to the piece that comes from a synergy of many creative references. It’s got soul. Set to a lesser known album by Jimi Hendrix, bluesy riffs provoke sultry and deliciously gooey expression. There’s a smokey nostalgia to this piece, with a sprinkling of pop cultural references. It conjured up flashes of hazy gigs, wistful remembrance of being at once part of a rock-star worshipping crowd and having a singular experience with the music/performer. With deference and humour, the piece was a celebration of our collective cultural experience.
– MG